The Excalibur Estate. Adaptive reuse vs the Listing System.

T H E E XC A L I B U R E STAT E Adaptive reuse vs the Listing System.

How should a social housing estate be protected and rejuvenated when its social and historic value is more important than its built form?

4

5

2 0 2 0 -2 0 2 1 Un iver si ty o f We stm i nste r

Ma ste r o f A rchi t e c t ure R I B A / A R B PA RT 2

I w oul d l ike t o t ha nk m y t ut o r R o S pa nki e , wit hout w hom t hi s d i sse rt a t i o n wo uld no t h ave b e e n p o ssi b le .

My d eep es t t h a nks a lso go o ut t o Eli sa b e t h Bl a nchet wh o g ave m e a uni q ue i nsi ght i nt o t he l ife of t h e re si d e nt s o f Exc a li b ur a nd w ho h a s a l l owe d m e t o use he r b e a ut i f ul ph ot ogra ph s t o i llust ra t e m y wo rd s.

Di sse rt a t i o n

So phi e Gu ne ra tne w174 1992

6

CONTENTS Abstra ct 9 In tro du cti on 1 2 Homes whi l e you w ait

16

1945 E mp ty homes

25

2020 “Homes for hero e s”

31

Hist oric cont ex t o f Exca li b ur Th e d es ign of t h e pre f a b s Lit t l e s t reet s A pl ot of our ow n Con servati on 4 5 Th e res id ent s’ fight f o r t he i r pre f a b ho m e s A his t ory of b uil d i ng co nse rva t i o n Wind ows a nd d o ors List ing is not t he a nswe r How shou l d E xca l ib u r b e p r e se r ve d?

51

Temp ora l it y a nd the li f e spa n o f a ho m e Ad a pt a b il it y a nd owne rshi p Con cl u si on 5 5 Th e l a s t cha pt er o f Exc a li b ur (2 0 2 0 ) Th e end of a b u il d i ng ’s li f e Less ons l ea rnt Ap p endi x 6 1 Int erview wit h E l isa b e t h B la nche t Int erview wit h Eva B ra nsc o m e Int erview wit h June B ro m wi c h Bi bl i og ra p hy 74 Li st of i l l u strati o n s

78

Fi gure 02 (top) 195 0s pre fa b e sta te Fi gure 03 ( l e ft) G la sg ow 1950s pre fa b Fi gure 04 ( ri ght ) Litt le st reet s an d garde ns of pre fa b e sta te

8

A b s t rac t 9

Abstract A h o u se or h ou si ng e s tate is ma d e up of m u ch mo r e than it s a r c h i t ect u re. ‘Ho me is l o c a ted i n sp a ce but it is no t n ec e s s ari ly a fi x ed s pace .

I t d o e s not need bricks and mo r ta r, i t ca n b e a wago n, a c a rav a n, a b oa t or a te nt.’ 1 So w h a t h a p p ens w h en a ho us ing e s ta te i s li st ed? T he tap e s tr y o f b u i l t f orm , p syc ho l o g y and s o c i a l const ru ct t hat mak e up o u r s e n se of h om e is s o tightl y w o v en m a ki ng t h e ide a o f l i s ti n g h ou si ng ver y co mpl e x.

A f t er a ll, wh a t i s t he pur p o s e o f a d w elli ng li vi ng o n witho ut th e c o mm u ni t y t h at made it n o tew ort h y ?

T h i s d issert a t i on t ake s the E x c a li b u r E st a t e i n C atfo r d, S o u t h L ondon, a s a pr e ce de nt f o r th e cont ent i ou s to pic o f l i s ti n g p ost - wa r h ous ing. By e x plo r ing t h e si t e’s his to r y, the d e s i g n i nt ent of t h e e s tate and it s d ec l i ne, I wi ll anal ys e its s u i ta b ili t y f or u se within the 2 1 st c e n t u ry. I wi ll que s tio n th e d e ci si on t o li st 6 o f the 1 87 bu n ga low s a nd dis cus s the o t h e r p ossi ble a p pr o ache s to preservi ng a nd cele brating the e s ta te’s h i st ory. T he r e is a l o t to b e a dm i red a b out Excal ibur a nd t h e t h ri vi ng community it h a s h ou sed for mo r e than 7 0 yea r s bu t t h e re ce nt l is ting o f o nly 6 of t h e p rop e r tie s d o esn’t seem t o go far e no ugh in p r o t ect i ng t h i s pie ce o f a rc h i tect u ra l a nd s o cial h i s to r y.

1

This dis s e r tation c on sid e r s que s tio n s of te mp oral ity and ho w to pr e se r v e a s ucce s s fu l h ou sin g e state witho ut r e str ic tin g its fu r th e r de ve l o pme n t. Th e ar c h ite c tu r e o f Excal ib u r sh ou l d undo ubte d l y b e main tain e d fo r futur e ar c h ite c ts to stu d y ho we ve r wh at is th e most s uitabl e way of d oin g so wh e n its s tr uc tu r e was giv e n a pr e dicted l ife span of on l y 10 ye ar s ? W h e n is it appr opr iate to k e e p s ome th in g wh e r e it s to o d rath e r th an r e tain it in a mus e um or ar c h iv e ?

The buil t e n v ir on me n t is u n d e r s cr utiny for its waste fu l u se o f r e s o ur c e s an d th e r e for e the r e is a str on g ar gu me n t fo r r e tai n in g an d ad aptin g e xis ting b u il d in gs. Ex c al ib u r was co ns tr u c te d at a time of e xtr e me h ou sin g sh or tage and when av ail ab l e l an d was pl e ntiful h owe v e r pr e se n tl y the r e is in su ffic ie n t l an d to ho us e L on d on’s g r owin g p o pul ation an d th e pr e fab s o ccupy v al u ab l e r e al e state that co u l d b e u se d to r e l ie v e the cur r e n t h ou sin g c r isis.

I wil l an al y se th e se topic al and co mpl e x issu e s as we l l as c on fl ic tin g v al u e s o f te mp o ral ity, n ostal gia and fas t- e v ol v in g c u l tu r e s to de te r m in e wh e th e r th e characte r of th e e state c ou l d b e b e tte r r e tain e d with in a n e w buil ding e n v e l op e .

Mary Do u glas, ‘ Th e ide a of hom e : A kind of spa ce’, S ocial Res ear ch, Vo l . 58 . 1 (1 991 ), pg 28 7 -3 0 7 (p g 28 9)

10

A b s t rac t 11

Fig ure 05 (o pp o site pag e ) T he E x c al i b ur E s t at e f r o m ab o ve P ho t o g raphed b y E l i s ab et h Bl anc het , 20 0 4 Fig ure 06 (rig ht) Chr i s t i ne and Ri c h w i t h t hei r new c ar Fig ure 07 (le f t) Chr i s t i ne t end i ng t o her g ar d en

“

We s a v e b ui l d i n g s n ot ju st for t h eir b ea u t y. We sa v e t h em for

t h e i r v i sua l v a r i e t y a nd t h e memor ies t h ey ev oke in indiv idu a l s a nd co m m un i t i e s. I supp ose t h e b a ck a l l ey s of M a y fa ir a nd t h e Cit y o f L o ndo n , i t s ch ur ch e s, pa r ks a nd sq u a r es, a l l get in t h e w a y of de v e l o pm e n t . T h e y s e r v e no pr of it a b l e pu r pose t h a t ca nnot b e su ppl ied b y a g h e r ki n, a s h a r d o r a pia z z a . Yet w e pr eser v e t h em b eca u se w e kn o w t h e y e nr i ch t h e l i fe of t h e cit y. Th ey r el iev e it s monot ony a nd pr o t e ct q ua l i t i e s o f sur pr ise a nd r epose t h a t moder n design ca n no l onger su ppl y.

”

2

S imon Jenkins

2

S imon Je nkins, ‘Exca libur’s cas t l es b ui l t f r o m p o s t w ar d r eams mus t no t b e d emo l i s hed ’, G u ar d ian , 6th Ja nua ry 2011 <ht t p s : //w w w. t heg uar d i an. c o m/c o mment i s f r ee/20 1 1 /j an/0 6/ e xca libur-ca stle s-pre fa b-p ost -w ar -d emo l i s hed > [ac c es s ed 29/0 9/20 20 ]

Introduction

I nt r o d uc t i o n 12

T h e E xca li bu r E st ate is l o cate d in C a t f ord, Sou t h L o ndo n, a nd w a s const ru ct e d in 1946 a s p a rt of Wi nst on Chur chil l ’s pro mi s e of 5 00, 000 e me r ge ncy h o mes a ft er t h e Se co nd Wo r l d Wa r. T he est a t e w as e nvis io ne d to s ta n d for only 10 ye ar s as a t em p ora ry h ou si ng s o l utio n f o r r e tu rni ng w a r v e te rans a nd t h o se w h o h a d l o s t the ir h o mes i n t h e B li t z, ho we ve r, o v er 70 yea rs la t er, the o ri g i na l est a t e st i ll s tands . In 2 01 1 a n ew- bu i ld es tate was g i v en p la nni ng p ermis s io n by L ew i s ha m Cou nci l r e s ul ting in th e prefa b h om es b e ing mar k e d f o r d e moli t i on, h owe ve r, 6 o f th e o ri gi na l 18 7 bungal o ws w e r e Gra de I I li st e d afte r mu c h ca m p a i gni ng fr o m the r e s i d ent s a nd t h e 20 th C e ntur y S o c i e ty.

I n t h i s di ssert a t i on , I wil l d i sc u ss w h et h er t he de cis io n to l i s t only 6 p rop e r tie s is th e b e s t way t o p re s e r ve the f a s c i n a t i ng h i st ory o f the e s ta te.

3

D ur ing t h e l ast fe w y e ar s whil s t w or k in g in prac tic e , I have wo rk e d on th e c on v e r sion and r e plan n in g of se v e ral l is te d bu il d in g s an d h av e e xp e r ie n c e d fir st h an d th e difficul tie s an d ad d ition al co s ts tha t wor k in g with a l is te d prop e r ty c an in tr o d u c e .

I unde r stan d th e imp or tan c e o f the l is tin g sy ste m in a s o cie ty w h e r e d e mol ition an d ne w buil d is e n c ou rag e d ov e r adaptive r e u se , h owe v e r, I que s tio n wh e th e r l istin g is th e r ight app r oac h for d ome stic buil ding s as it c an b e v e r y r e s tr ictiv e an d c au se r e sid e n ts to l ive with in an ou td ate d ho us ing mo d e l th at is n ot s uitabl e for mo d e r n l iv in g.

It is wide l y r e c og n ise d th at fo r ho usin g to b e su c c e ssfu l it ‘s ho uld b e ph y sic al manife s t ation s of ou r p e r son al bio graph ie s.’ 3 Th e r e for e I wil l dis c u ss th e n e e d for adaptive r e u se of p ost- war ho us ing e state s an d th e man y s o cial , a r c h ite c tu ral an d e nvir o nm e n tal motiv ation s for this .

Pau l Keedw ell, Headspace: T h e Ps ych ol og y of City L ivin g, 1st e dn, (Lon d o n: A ur um P r es s , 20 1 7 ), p g 50 .

In a pr e v iou s ac ad e mi c es s ay, I id e n tifie d an an oma ly i n t he VAT sy ste m th at d isc o ura g es A r c h ite c ts an d D e v e l o p ers away fr om ad aptiv e r e us e a n d e n c ou rag e s n e w b u il d p ro ject s .

In th is d isse r tation , I w i ll ar gu e th at fav ou r in g n ew b ui ld d e v e l opme n ts is ou tm o d ed a s it is in c r e d ib l y waste f ul a n d ofte n r e su l ts in th e d i s p ers i n g of so c ial h ou sin g c om m un i t i es wh e n th e ir ar c h ite c ture i s fail in g an d n e e d s to b e reb ui lt .

W h il st th e l istin g sy st em ha s ac h ie v e d g r e at tr iu mp hs w hen pr ote c tin g ar c h ite c tu ra l reli c s , su c h as c astl e s, c ath ed ra ls a n d state l y h ome s, in r e sp o n s e to th is ov e r wh e l min g n eed t o d e mol ish e x istin g b u i ld i n g s , I b e l ie v e th at it is n ot t he a n s w er wh e n it c ome s to r e siden t i a l ar c h ite c tu r e as it r e st ri c t s t he ab il ity for a h ome to g ro w a n d ad apt with its in h ab it a n t s .

For ar c h ite c tu r e to surv i v e t he te st of time it mu st b e f ree to e v ol v e with ou r c h a n g i n g e x p e c tation s of a d we lli n g .

It mu st b e ad aptab l e t o n ew su stain ab il ity d e man d s a s w ell as d e v e l opme n ts in techn o lo g y an d h ow we wish to in ha b i t o ur h ome s.

I nt r o d uc t i o n 13

T h i s d issert a t i on wil l dis cus s th e E x ca li bu r E st a te as a n ex a mp le of t h e s o cial im pli c a t i ons of di s mantl ing a s u c c essfu l h ou si ng e s tate . I w i ll b e qu est i oni ng the cur r e nt l i s ti n g syst em a nd as k ing “ w h a t i s t h e correc t way to preserve t h e su cce s s ful s o cial a nd a r ch i t ect u ra l as p e cts o f E x c ali bu r? ” I n re s p o ns e to th i s qu est i on, I wil l d i sc u ss a da p t i ve re us e as an int erm edi a t e solu tio n b e twe e n th e e x trem es of li sting and d e mo l i t i on.

To co nduc t th e n e c e ssar y r e s e ar ch for th is stu d y, I wil l us e te ch n iq u e s u se d b y so c ial s cie nce , su c h as c on d u c tin g inte r vie ws, as th e q u e stion s I am as kin g d o n ot j u st c on c e r n the ar ch ite c tu r e of Ex c al ib u r, but the v al u e of so c ial h ou sin g , the co mmu n ity an d e mpl oy in g pie ce s o f ar c h ite c tu r e as ve hicl e s of me mor y. To d ay, d u e to the de c an tin g p ol ic y, th e majo r ity of th e r e sid e n ts h av e mo ve d o u t of th e e state an d fo r this r e ason , as we l l as th e o ngo ing c or on av ir u s pan d e mic I have b e e n u n ab l e to in te r v ie w the r e s id e n ts d ir e c tl y.

Ho we ve r I h av e b e e n in tou c h with El is ab e th Bl an c h e t, a pho to graph e r, wr ite r an d fil m make r an d Mu se u m Dir e c tor o f the Pre fab mu se u m wh ic h s he s e t u p in on e of th e v ac an t pr e fabs in th e Ex c al ib u r Estate in 20 14. Th is pr imar y r e se ar c h is inval uab l e to my d isse r tation as El is ab e th k n e w th e r e sid e n ts we l l and h e l p e d th e m with th e campaig n for th e pr ote c tion and l is tin g of th e pr e fab s. S h e al s o do c u me n te d th e d e c l in e o f the e s tate , th e d e c an tin g pr o ce s s an d th e P h ase 1 de mo l ition th r ou g h th e e y e s of the r e s id e n ts.

I wil l al so stu d y c u r r e n t l ite ratu r e su c h as ‘ Bui ld i n g s mu st d ie’ (2 0 14 ), ‘ Un do i n g b u il d in g s: A d aptiv e r eus e a n d c u l tu ral me mor y ’ (2 0 1 9) a n d ‘ Mu n ic ipal Dr e ams: T he ri s e an d fal l of c ou n c il h ous i n g ’ (2 0 18) as we l l as an al y s i n g ar c h ite c tu ral d rawin g s , ph otograph s an d v id eo s o f Ex c al ib u r.

L ik e th e pr e fab mu se um , t hi s d isse r tation ‘ te l l s a st o ry t ha t r e son ate s to d ay, of h o us i n g sh or tage s – an d in n ov a t i v e sol u tion s to th e m… It a ls o pain ts a pic tu r e of so ci a l, d ome stic , an d wor k in g c la s s l ife fr om 19 4 6 to th e p res en t d ay.’ 4

Fi gure 08 ( l e ft) S c re e n s h o t of zo o m in terview w it h Elisa b e th Bla nche t Fi gure 09 (ri ght ) E l i s ab et h B lan c h et ou t side the Pre fa b Muse um

4

Jan e Hearn , The Prefab Mu s eu m, 2014 <https://www.pre fa bmuse um . uk/c o nt ent /ab o ut /i nt r o d uc i ng -w eb s i t e> [ac c es s ed 20 /1 0 /20 ]

Fi gure 10

14

1945

VE Day ce le bra tions

Homes while you wait 1945 T h e f o llowi ng i m a ge s and te xts ar e e x tra c t ed from a sho r t fil m pr o duce d to pro mot e Uni -Seco pr e fabr icate d h o mes i n 19 45 .

“G eor g e S mith, w ho w ill s ho r tly b e d emobb e d, and Mr s Smi th are l o ok i ng for a h ou s e. That’s n o t v er y unusual but thes e are un us ual d ay s and the usua l s o rt o f ho us e i s u n u s ually scarce . So w hat do they d o?

Th ey stop. T he y l o o k an d they g li st e n . T h e y glis ten b ecaus e they a r e on the track of a Un i-S eco h ouse .

Th a t i s a h ouse that’s made up o f s e c t i o n s of p ortable un i ts .” 5 5 B rit ish Pat h é, Ho m es Wh il e You Wait 1 9 45, online vide o

rec ordin g, B rit ish Pat hé film a rchive s, 1st Octob e r 1945 , <h tt ps:/ / w w w.british pa the .com /vide o/hom e s-while -you-

w ait> [ ac c essed 3 Oc t ob e r 2020]

Ho mes w hi l e y ou w a it 17

Fig u r e 1 1 ( f a r l ef t ) Co upl e w al ki ng t h r ou gh a p a r k Fig ure 1 2 ( c en t r e, l ef t ) Co up l e s at l o o ki ng t hr o ug h Un i- S e c o m a n u a l Fig ure 1 3 ( c en t r e, r i gh t ) Co upl e w al ki ng pas t ho us es w i t h s o l d s ign s ou t s id e Fig ure 1 4 ( f a r r i gh t ) Tr uc k c ar r yi n Uni -S ec o p ar t s d r iv e s p a s t c ou p l e

“ T he f i rst t hi ng t o d o , o f c o u r s e, is t o v i si t t he b u i l d i ng si te . S o l et ’s g o a l o ng wi th t he m . Hm m so l d a g a in ?

Oh no the re a re pl e nty m o r e a n d if we a re no t m i st a ke n the n t h a t is a c o m pl e t e ho u se o n the way.

Ju st a l o rry l o a d o f l o v e ne s t .” 6 ( m u si c a l i nte rl u d e ) 6

i b i d . (Br i t i s h Pat hé, Ho mes w hi l e yo u w ait 1 9 4 5 )

“ T h e parts are un lo ad ed an d c h e c k ed. T h e re are exactly 189 o f t h em and th e y are erected o n s i t e s t h at have gas , electr i ci ty an d d ra i nage se rv ice s lai d o n an d have b ee n approve d by the Mi n is try o f He a lt h. ( m u s i cal inte rlude) E a c h building unit i s , i n an effect, a s and w ich. Consis ti n g o f tw o s heets o f asb e stos ce me nt filled w ith w o o d w o ol.” 7 7

ibid. (B rit ish Pat h é, Hom e s while you wa it 1945 )

Ho mes w hi l e y ou w a it 19

Fig u r e 1 5 ( f a r l ef t ) Man unl o ad i ng p ar t s f r om a t r u c k Fig ure 1 6 ( c en t r e, l ef t ) Co up l e s at i n t he gra s s w a t c h in g Fig ure 1 7 ( c en t r e, r i gh t ) Man unl o ad i ng p ar t s f r om a t r u c k Fig ure 1 8 ( f a r r i gh t ) G eo r g e ap p r o ac hi ng t he d o o r of n u m b e r 1 0 0

“ T he re’s no t hi ng l i ke se e i n g y o u r o wn ho u se b u i l t whi l e yo u w a it a nd wha t’s ni c e r t ha n to si t a n d d re a m o f t he fu t u re . Whe n u n it s g et t o g e the r whe t he r ho u se o r h u ma n !

Oh b o y!

M r a nd M rs S m i th a re g o i ng t o l i v e a t nu m b e r o ne hu nd red a n d whi l e we’re he re wha t a b o u t a l it t l e re he a rsa l .

Ev e ni ng G e o rg e d e a r, ni c e t o s ee yo u b a c k so e a rl y.” 8 8

i b i d . (Br i t i s h Pat hé, Ho mes w hi l e yo u w ait 1 9 4 5 )

“ T h e r e are five ro o ms i n cludin g b a t h r o om, kitchen an d s eco n d b ed r o om wh ich leads o ff the k i t c h e n. B it of alright eh G eo rge?

Th e k i tch e n is e q uip p ed w ith w as h c o p p er, fridge an d electric co o k er.

As an alte rnative to the fi re, there’s i m m ersion wate r heater.

Table s th at fold an d cup b o ards that h old are othe r am en i ties fo r s avi n g s pac e and providin g it.” 9 9

ibid. (B rit ish Pat h é, Hom e s while you wa it 1945 )

Ho mes w hi l e y ou w a it 21

Fig u r e 1 9 ( f a r l ef t ) Mr s S mi t h ut i l i s i ng t h e f ol d ou t t a b l e Fig ure 20 ( c en t r e, l ef t ) Mr s S m it h m a k in g t e a Fig ure 21 ( c en t r e, r i gh t ) Mr s S m it h p ou r in g t e a Fig ure 2 2 ( f a r r i gh t ) G eo r g e s i t s r ea d in g t h e p a p e r

“ We l l i t wo n’t b e l o ng no w G eo r g e, o l d m a n, a nd t he re’s no u se pre t e nd i ng tha t yo u’re re a d in g . ( m u si c a l i nte rl u d e ) I t m ay b e o nl y te m p o ra ry b u t it ’s c e rt a i nl y a c o m f o rta b l e ho me.

T ha nks t o u ni t s.” 1 0 1 0

i b i d . (Br i t i s h Pat hé, Ho mes w hi l e yo u w ait 1 9 4 5 )

22

2020

Fi gure 23 Aba ndone d home s P h o to graph d by Elisab e th Bla nche t, 2013

E mp t y ho m e s 24

“

T h e de m o li t i o n i s b re a k i n g m y h e a rt . Qui t e h o n e s t ly, it w il l b e f i n i s h o f m e i f I h a v e t o m o v e . I do n’ t li k e t o t h i nk o f th em b e i n g pulle d do w n . I t b re a k s m y h e a rt . I c lo s e my e y e s wh e n I pa s s t h e o n e s t h a t a re b o a rde d up. I ’ v e lo v e d t his pla c e f ro m da y o n e .

”

11

Eddie O’M a h on y ( pictu red) Fi g u r e 2 4 (left) E d d i e O’ Mah on y in h is b edro o m P ho t o g raph ed by Elisab eth B lanche t, 2004 Fi g u r e 2 5 (rig h t) E d d i e O’ Mah on y ou t side h is pr e fa bs P ho t o g raph ed by Elisab eth B lanche t, 2007

11

Eli s ab et h Bl anc het , E x ca lib ur E st a t e - E d d ie t a lk s a b o ut t he d e m o lit io n pr o ce ss, o nl i ne vi d eo r ecor d in g, You Tu b e , 10t h No vemb er, 20 1 3 <ht t p s : //w w w. yo ut ub e. c o m/w at c h? v= Nej r CM7 _I t Y> [ac c es s ed 0 5/1 1 /20 ]

E mp t y ho m e s 25

Empty homes 2020 H avi ng co n ducte d a cons id era b l e a mount o f h i s t o r ic re se ar ch of t h e es t a t e my p ercept i o n of Ex c alibur was of a n innova t ive a nd s u c c e s sful de sig n t h a t h a rb oured a t h riv i ng c om m un ity. I p re pa red for a vis it t o t h e e st a t e w i t h much an ticipa t ion a nd high ex p ecta t i o ns.

T h e f o llo win g te xt is a p ers ona l a ccount o f m y vi s i t t o Excalibur.

O n a s u n n y Saturd ay morning in Au gu st 2 0 2 0 , I e m e rg e thr o ug h a n a l l eyway on t o Persa nt R o a d an d e xp e rience t he prefa b est a t e of E x c a l i bur fo r the firs t t ime. I st ru ggl ed t o fi n d t h e e state , o n my w a l k from Ca t ford ov e r g r o un d station, a s cons t ruct ion h a s b e gun on t h e site re ge n era t ion project a nd road s a re b l o c k e d o ff to the nort h a nd west of t he e st a t e .

Ho a r d ed ste e l fe nces hid e t h e d es t ruct io n of t h e first p hase of d emol it ion b u t , s ev e ra l s h i ny, de v e lo p e r bu il t b l o cks l o om in t h e d i s t an ce ; an un wel come remind er of wh a t t he fu t u r e ho lds fo r t h e l a nd t ha t t h e b ungalo ws c u r r en tly o ccup y.

A s I b eg in to we ave a rou nd t h e l it t l e fo o t pa t hs b e t w ee n the ho us es, I a m d isa pp oint ed t h at I n e v e r go t to see t he es t a t e in it s full g l o r y. Up un til this vis it , my resea rch h a s p or t raye d a much-cel eb ra t ed piece of h i st o ry, p os t - war r e lie f, e x cit ing innova t ion a nd a t h r i vi ng co mmun it y t ha t a d ore t h eir pref a b s.

I am t a k e n aback b y wh a t I see a nd t h e d i s c r ep an cie s b e t w een t h is ima ge of E x c a li b ur a nd t he r un -do wn prop ert ies t ha t s t a nd b e f o re me.

Fig ure 26 (le f t) E nt ranc e t o t he E x c al i b ur E s t at e P ho t o g rap hed b y E l i s ab et h Bl anc het , 20 1 2 Fig ure 27 (rig ht) Cat f o r d s t at i o n P ho t o g rap hed b y E l i s ab et h Bl anc het , 20 0 7

26

Man y o f the bun g a l ows l ie em p t y.

I p ee r thro ugh wire fences a nd b o a r d ed up win dows s ea rching f or s t o rie s. Swin gs s it in wa it a s i f f ro ze n in time, for a l ongd ep ar te d child to jump on a nd a s k t o b e p ushe d. I’m s a d d ened b y t h e litte r e d an d overgrow n g ar de ns, man y stil l sca t t ered w i t h t he ir fo rme r o ccu pa nt ’s b e l on gin gs. W he el b a rrows l ie ov e r t urn e d in p at ch es of w eed s, lon g i ng to b e rig ht ed a nd pu t t o use.

T h e aban do n e d struct u res r ev e a l histo ric tales of t heir c on s t ructio n by G erma n p r i s on e r s o f war 1 2 a s a much lov e d ‘Ho me s fo r Hero es’.

T h e h o me s we lco med t he r et u r n o f se r v ice m en a nd s h e l t e re d the ir famil ies for s e ve ra l g e n e ratio ns. Ma ny w e r e cho p p e d an d ch a nged , i m p r ov e d with upgra d ed w i ndo ws, br ight spl a sh es of p a i n t an d n e w clad d ing. Th e c a r ef ul main te n ance a nd l oving p er s on alisatio n by t h eir former o c c u p an ts clin g to t h eir now t i r ed frame awaiting t h eir d em ol itio n .

Fig u res 2 8 (top) & 30 ( b ottom) A ban don ed b elo n gin g s in pre fa b g a rde ns Ph o to graph ed by Elisa b e th Bla nche t, 2018 Fi gure 29 (ce ntre ) Muria l of spitfire Ph o to graph ed by Elisa b e th Bla nche t, 2018

1 2 Not e: Residen t Eddie O’Ma hony a nd Ma x

Hen t sh el, G erman P risone r of Wa r who he lp e d to

c o n stru c t th e pref abs struck up a frie ndship in

201 4 an d w rot e lett ers to e a ch othe r. Eddie

t h an ked Max f or “a ma rve lous job” a nd Ma x

sen t h is su pp o rt f or the ca mpa ig n to save the

estate f ro m demolit ion saying “I he lp e d to build

t h em - I rememb er. I wa nt to he lp you.”

Son ia Z h u rav ly o va, ‘ Wa r, pre fa bs a nd a n unlike ly

f rien dsh ip b etw een opp osing soldie rs’, G u ar d ian,

5th Ju n e 201 4 < h tt ps://www.the g ua rdia n.com/ c it ies/ 201 4/ j u n / 05/ w ar-pre fa bs-a nd-a n-unlike ly f rien dsh ip-b et w een -opp osing -soldie rs> [a cce sse d 05/ 01 / 20]

E mp t y ho m e s 27

W i t ho ut t he t hri vi ng co m m uni t y t ha t li ved h er e, t he a rc hi t e c t ure i s laid b a r e f o r scrut i ny. I t i s clea r th a t t he si t e ha s m o re hi s tor ic a nd so ci a l va lue t ha n it do es a rc hi t e c t ura l m e ri t an d I c a n’ t he lp b ut q ue s tion t he d e ci si o n t o li st t h e s ix pro p e rt i e s o n Pe rsa n t Roa d.

The c ho se n si x we re l is ted a s t he y a re t he ‘ b e st pr es er v ed e xa m ple s’ a nd t he re f or e b ea r t he f e we st sca rs o f t h eir p a s t.

The y a re t he le a st a lter ed or p e rso na li se d b y t he i r ten a n ts a nd st a nd i ng i n t he c en tr e of t he e st a t e I a m co nf u s ed b y t hi s d e c i si o n. The a d a p ta tion b y t he re si d e nt s i s a c l ea r re f le ct i o n o f t he suc c es s o f t he e st a t e a nd t he s en s e o f o wne rshi p t ha t t h ey f el t f o r t he i r ho m e s a nd it f eel s wro ng t ha t t he se e lem en ts wi ll b e lo st i n t he d em ol ition .

I wa lk d o wn Pe rsa nt r oa d a nd t ry t o i m a gi ne t h es e si x uni q ue ho m e s st o o d i n a lo ne ly li ne , a st ar k co nt ra st f ro m t he t y p ic a l L o nd o n ve rna c ula r t h a t is co nt i nuo usly d e ve lo p in g a ro und t he m .

W ha t wi ll t he ho m e s b e c o m e ? W i ll t he y ju s t b e p e rce i ve d a s a rc hi t ec tu ra l o b je ct s, f e t i shi se d f o r th eir uni q ue a nd no st a lgi c f or m b ut d e e m e d unsui t a b l e f or m o d e rn li vi ng ? Thi s s eem s li ke a f a ll f ro m gra c e f or th e o nce re no wne d ‘ Ho m e f or He ro e s’ .

Fig ure 3 1 (to p) O ne o f t he l i s t ed pr o p er t i es o n Per sa n t R oa d P ho t o g raphed b y E l i s ab et h Bl anc het, 2 0 1 4 Fig ure 3 2 (c e ntre ) E x ampl e o f a p er s o nal i s ed p r ef ab P ho t o g raphed b y E l i s ab et h Bl anc het, 2 0 0 4 Fig ure 3 3 (b o tto m ) E x ampl e o f a p er s o nal i s ed p r ef ab P ho t o g raphed b y E l i s ab et h Bl anc het, 2 0 1 8

28

Fi gu r e 3 4 Mar ket i ng f o r t he E x c al i b ur r e d e v e l op m e n t P ho t o g raphed b y E l i s ab et h B l a n c h e t , 2 0 1 8

30

Ho mes f o r h e r o e s 31

“Homes for heroes” Historic context of Excalibur “ I t w a s th e s p i ri t o f , yo u k n o w the post war, w h e n yo u ne e d to r eb u i l d again t og e t h e r. So i t s li k e p eo p l e al l st a r t fr om t h e s a m e le vel . I thi n k that ma d e t h e s ch e m e , a s a so c i al ho u si n g sc heme, w o rk e ve n be t t e r. Yo u see, i t’s b ec ause p e o p le h a d t o , to r eal l y fo r get, for get wha t h a ppe ne d an d j u st … star t again .” 1 3 Elisa b et h B la nc h e t

By mo de r n h ou sin g stan d ar d s, it is e as y to q u e stion th e r e s ide nts’ attac h me n t to th e ir mo de s t p r e fab d we l l in g s an d the r e fo re on e mu st e x amin e the his to r ic c on te x t with in which th e y we r e b u il t. In r e fe r e nc e to Ex c al ib u r, th is is par ticular l y imp or tan t as th e y we r e co n c e iv e d ou t of a time of co untr ywid e mou r n in g for l ost l ive s and a pl ac e to c al l h ome fo l l o win g th e S e c on d Wor l d War.

Ev e n b e for e th e Bl itz , h ou sin g was ‘on e of th e m o s t p e r siste n t so c ial pr ob lem s’ 1 4 in Br itain . It was a tim e o f t w o e x tr e me s with th e mid d le cla s s mov in g in to l ar ge , l u xuri o us h ou sin g in th e su b u r b s a n d th e wor k in g c l ass l iv in g i n c ramp e d , sq u al id c on d i t i o n s in in d u str ial c ity c e n t res .

Popu l ation gr owth , ra p i d u r b an isation an d in c r ea s ed immigration l e ad to t he c on str u c tion of ‘ n u me ro us su b - stan d ar d d we l l ing s , o f t en with ou t c ar e fu l pl an n i n g ’ 1 5 in or d e r to q u ic k l y h o us e t he wor k in g c l ass. R e n ts w ere hi g h an d sal ar ie s l ow me an i n g t ha t se v e ral famil ie s wou l d o f t en sh ar e a sin gl e h ou se i n o rd er t o sav e mon e y.

Th is issu e of ov e r c r ow d ed d we l l in g s an d e x trav a g a n t r e n t was r e c ogn ise d b y t he gov e r n me n t as a pr ob lem t ha t n e e d e d imme d iate att en t i o n an d ‘ar ou n d 1.1 mil l io n n ew c ou n c il h ome s we r e b ui lt i n th e twe n ty y e ar s fol l o w i n g 19 19 , tran sfor min g the f a c e o f Br itain an d , in n e ar l y a ll ca s es , imme asu rab l y impr ov i n g t he l iv e s of its wor k in g c l a s s .’ 1 6

Fi g u r e 3 5 B o m b d amage in Lew ish am Fi g u r e 3 6 S l u m h o u sin g in P ro viden c e P la ce , London, 1909

1 3 1 4 1 5 1 6

Elisab et h B lan c h et, inte rvie w by a uthor, London (via zo om ), We dn es d ay 7 t h O c t o b er 20 20 (f ul l i nt er vi ew p g . 60 -66).

C h ris C o ok, The Ro utled ge comp an ion to Br itain in th e n in eteen th cen tu r y, 1 81 5 -1 91 4, 1 s t ed n (L o nd o n, Ro ut l ed g e, 20 0 5), p g . 1 1 9.

Nigel Sc ot lan d, Sq ui res in th e S l u ms : S ettl emen ts an d M is s ion s in L ate-V ict o r ia n L o n d o n, 1 s t ed n (L o nd o n, I . B.Taur i s & Co L t d , 20 0 7 ) pg . 1 .

Jo h n B o u gh t o n , Muni c ip al Dr eams : T h e Ris e an d Fal l of Cou n cil Hou s in g, 1 s t ed n (L o nd o n, Ver s o Bo o ks , 20 1 8 ), pg . 29.

Ho mes f o r h e r o e s

I s p o ke with my gran d moth e r ab o ut her e x p e r ie n c e of gr o wing u p in v ar iou s c ou n c il pr o p e r tie s to u n d e r stan d mor e ab o ut this time .

“…I t just lo o ke d lo ve ly, r eal l y l o v el y.

Well, I ’ m ve ry s e nt i m e ntal an d I hav e ver y fon d m e m o ri e s o f that ho u se.” 17 My gra nd m oth e r, Ju ne Br o m w i c h ( na n a )

17

Ju n e B romw ic h , in ter vie w by a uthor, Lon do n (via t eleph o n e), S a turday 31st Oc to b er 2020 (f u ll in te rvie w pg . 70-73).

Fi g u r e 3 7 (top left) I m ag e o f my gran dmo th er’s gar de n a t the council p ro p e r t y sh e grew u p in Fi g u r e 3 8 (top rig h t) I m ag e o f my great -great-gran dm othe r a nd g re a tg r e at - aun t ou t side t h e pro p erty Fi g u r e 3 9 (b ottom) I m ag e o f th e c o u n c il pro p ert y itse lf

32

Bo r n in 19 4 1, 5 y e ar s b e for e th e co ns tr uc tion of th e Ex c al ib u r Es tate , sh e l iv e d for h e r fir st 7 ye ar s in a 3 b e d r o om c ou n c il pr o p e r ty wh ic h sh e sh ar e d with he r par e n ts, au n t an d grandpar e n ts. Th is pr op e r ty had a b ee n offe r e d to h e r grandpar e n ts b y th e LCC, Lo ndo n Cou n ty Cou n c il , in 1935 in o r d e r to mov e th e m o ut o f an ov e r c r owd e d h ou se in C amd e n Town , in wh ic h the y l ived al l in on e r o om an d s har e d th e r e st of th e h ou se with s e v e ral oth e r famil ie s.

O n c e h e r fath e r r e tu rn ed f ro m se r v ic e in th e R A F th e y a p p li ed for a c ou n c il h ou se of t hei r own as h e r gran d par e n t ’s ho us e was n o l on ge r b ig e n o ug h f o r th e ir gr owin g famil y. T he c ou n c il v isite d th e h o us e t o r e v ie w th e ir l iv in g c o n d i t i o n s an d th e n al l o c ate d th em a pr op e r ty in Mil l H il l . S he sp e ak s fon d l y of b oth ho us es , e x pl ain in g th at th e y w ere sol id , we l l d e sig n e d a n d w ell b u il t pr op e r tie s th at a re s t i ll stan d in g to d ay.

Ho mes f o r h e r o e s

Fi g u r e 4 0 G un n e r Hec t o r Mu rdo c h arrive s home a fte r ove r 4 y e ars aw ay at w ar. His w if e an d son didn’t know if he w as d e ad or aliv e as h e sp en t ma ny ye a rs a s a prisone r o f w ar.

33

The mid 2 0 th c e n tu r y was a time o f u n pr e c e d e n te d gr owth fo r co un c il h ou sin g an d th e we l far e state . W h il st th is b e gan as a p ol itic al r e sp on se to the imme d iate n e e d afte r the de s tr u c tion of th e S e c on d Wo r l d War, th e g ov e r n me n t co ntinue d to pr ov id e h ou sin g fo r many y e ar s. ‘Cou n c il h ou se buil ding n e v e r fe l l b e l ow 150 ,0 0 0 p e r an n u m th r ou gh ou t the 1950 s an d r e main e d in e xce s s o f 80 ,0 0 0 r ig h t th r ou gh to the e n d of 19 70 s.’ 1 8

18

Th e so c ial impl ic ation s o f th e war an d th e ir e ffe ct s o n th e ge n e ral fe e l in g of t he p opu l ation in th e l ate 1 94 0s an d 50 s al so e n ab l e d t he gr owth of th e we l far e s t a t e.

Th e fir st r e sid e n ts of E xca li b ur (as we l l as th ose of ma n y o t her so c ial h ou sin g e state s a cro s s th e c ou n tr y ) we r e r e turn i n g war v e te ran s or p e ople w ho ha d l ost th e ir h ou se s an d m o s t o f th e ir p osse ssion s d u r i n g t he Bl itz . Th e e n tir e p opu la t i o n h ad c ol l e c tiv e l y su ffe red e x tr e me trau ma an d t heref o re th e y we r e v e r y g rate fu l t o b e giv e n a n e w h ou se an d a n ew b e gin n in g.

Pe ter K i ng , Un d e r st a n d in g Ho usin g Fin a n ce : Me e t in g Ne e d s a n d M a k in g C ho ice s, 1 s t ed n (L o nd o n , R ou t l e d ge , 200 1 ), p g . 3 5.

Ho mes f o r h e r o e s 34

“Homes for heroes” The design of the prefabs

“Now wha t a bo ut t h e s e em er gen c y houses? … Th e y a re , i n m y o p i n i o n , far super i o r t o t h e o rd i n ar y c o ttage as it ex is t s t o d a y. No t o n l y hav e they exc elle nt ba t h s , g a s o r el ec tr i c kit c henett e s a nd re f ri g er ato r s, b u t thei r wal ls c a rry f i t t e d f urni tu r e— c hests o f dr a w er s, h a ng i ng cupbo ar d s an d tab l es whic h t od a y i t w o uld cost ei ghty p o u n d s to b uy.” 1 9

Ex tra c t from Ch u rc h i ll ’s s p e e c h Sunday 2 6 th M a rc h , 19 4 4

Fi g u r e 4 1 W i n s t o n C h u rc h ill deliverin g a sp e e ch ove r the ra dio

19 Th o mas Daly, ‘ Th e w ar a nd conditions i n E n g l an d . Ou r greatest ef f o rt is coming ’ Vital Spe e ch e s o f the Day, Vol.1 0.1 2 (1 9 44), pg 35 4-358 < ht t p s : / / we b .a.ebsc oh o st.c o m/ eh ost/p dfvie we r/ p d f v i e we r ?v id=4&sid=d86 c c f eb-56b8-40cf-b0c05 8 2 3 e a6 8 2 0 cd%40session mgr4007> [a cce sse d 11/12/20] ( pg 3 5 7 )

Re s e ar ch in to al te r n ativ e co ns tr uc tion te c h n iq u e s for ne w co un c il h ome s b e gan th r e e ye ar s b efor e th e e n d of th e Se co nd Wor l d War. A fte r th e fail ur e of th e A d d ison A c t to de l ive r th e pr omise d 2 0 0 ,0 0 0 ne w ho m e s a y e ar afte r W W 1 2 0 , Chur chi l l ’s gov e r n me n t k n e w that the y we r e d u ty - b ou n d to pr o vide c omfor tab l e , mo d e r n ho us ing for se r v ic e me n to r e tur n to. It was an e v ol v in g de s ign p r o c e ss in wh ic h th e Inte r de par tme n tal Committe e o n Ho use Con str u c tion , l ate r r e fe r r e d to as th e Bu r t Co mmitt e e afte r it’s c h air man G e o r ge B u r t, wor k e d tir e l e ssl y to gathe r in for mation an d te st no n-trad ition al c on str u c tion me tho ds .

Towar d s th e e n d of 19 4 3, t he l e v e l of d e str u c tion fr o m th e e n e my h ad su r pas s ed a ll e x p e c tation s an d ‘ it b ec a m e c l e ar... th at on l y some f o rm of q u ic k l y b u il t te mp o ra ry h ou sin g c ou l d al l e v iat e t he h ou sin g c r isis.’ 2 3 Th e B urt Committe e trav e l l e d t o A me r ic a to l e ar n ab ou t t he d e v e l opme n ts in pr e fa b ri ca t ed h ou sin g an d b r in g b ac k t hi s th in k in g to th e UK h o us i n g mar k e t.

A s tudy p r ov id e d b y th e D u d l y Co mmitt e e , ‘ wh ic h r e pr e se n te d the inte r e sts of th e wome n’s mo ve men t, l o c al gov e r n me n t, the co ns tr u c tion in d u str y and the me d ic al pr ofe ssion’ 2 1 impar te d in for mation on ‘ wh at the mo d e r n famil y e x p e c te d fr o m the in te r ior l ay ou t of p o s t-war h ou sin g .’ 2 2 Th e Bu r t Co mmitt e e c on sid e r e d th e se findings al on g with id e as s ubmitte d b y pr iv ate h ou se buil de r s an d l o c al c ou n c il s and built sampl e h ou se s in a te s t gr o un d in Nor th ol t, We st Lo ndo n.

20 21

22 23

Not e: O nl y a t o t al o f 1 7 0 , 0 0 0 ho mes w er e ac t ual l y c o ns t r uc t ed .

Eli s ab et h Bl anc het and S o ni a Z huravl yo va, P r ef ab s : A s o c i al and ar c hi t ec t ural hi s t o r y, 1 s t e d n , ( S w in d on , H is t o r i c E ng l and , 20 1 8 ), pg . 26. ibi d (p g . 26). ibi d (p g . 26).

Ho mes f o r h e r o e s 35

Fig ure 42 E x hi b i t i o n o f t he p r ef ab ho mes at t h e Ta t e G a l l e r y i n 1 94 4 Fig ure 43 Tar ran p r o t o t yp e as s ho w c as ed at t h e Ta t e G a l l e r y ex hi b i t i o n i n 1 94 4

‘It is h ope d t h a t a s m a n y wo m en as possib le p a rt i cu la rly wo r k i n g housew ive s a nd yo ung m ar r i ed wo m en , sh a ll see t h e h o u s e .’ 24 Th e Times , 2nd Ma y 194 4

An indic ator of th e imp or tan c e o f this issu e at th e time is the s e r ies of e x h ib ition s of the pr e fa b d e sign s at th e Tate in 1944 (fig u r e 4 2 ). Th e fir st was de s i g n e d b y CJ Mol e , the D e puty Dir e c tor of th e Minis tr y of Wor k s, an d was co ns tr uc te d fr om ste e l an d pl ywo o d . It was we l l - r e c e iv e d by the pu b l ic , wh o mar v e l l e d at the mo d e r n k itc h e n , b u il t- in s to rage a n d in d o or b ath r o oms.

The Ar chite c t’s Jou r n al c al l e d fo r pr o fession al fe e d b ac k on the de s ig n an d ‘ar c h ite c ts and e ngin e e r s se n t n u me r ou s s ugge s tion s... r e gar d in g th e pr o to typ e’s l ay ou t an d c e il in g he ight.’ 2 5 A l th ou gh th e se change s we r e ame n d e d th is ve r s io n o f th e d e sign was n e v e r r o l l e d o u t d u e to in su ffic ie n t s te e l and pl y wo o d for th e v ast quantiti e s of h ome s th at we r e r e quir e d .

A se c on d e x h ib ition w a s h e l d at th e Tate in or d er t o d ispl ay th r e e oth e r d e s i g n s b y d iffe r e n t man u fac t urers ; th e Un i- S e c o (L on d on ) , Ta rra n (Hu l l ) an d A r c on (c on s t ruct ed b y Br itish mass h ou se b ui ld i n g Tay l or Wo o d r ow wh o w en t o n to me r ge with ‘G e or ge W i m p ey in 2 0 0 7 to for m Tay l or W i m p ey, wh ic h is n ow on e of th e la rg es t Br itish - b ase d h ou se b ui ld i n g c ompan ie s)’ 2 6 . A l th ou g h d iffe r in g sl ig h tl y in des i g n , d u e to th e man u fac turers mate r ial pr e fe r e n c e s, t he l ay ou ts an d fu r n itu r e o f ea c h ty p e r e main e d v e r y si m i la r d ue to th e th or ou g h b r ie f s et b y t he Min istr y of Wor k s.

2 4 Th e Times, ‘Simplif ied housing . Pre fa brica te d typ e on vie w ’, T h e Tim e s, 2nd May 1 94 4 <ht t ps : //w w w. t het i mes . c o . uk/ar c hi ve/ar t i c l e/1 94 4 -0 5-0 2/2/4 . ht ml # s t a r t % 3D 1 9 4 4 - 05-01 %26 en d%3 D1 9 44 -05 -06%26te rm s%3DTa te %26ba ck%3D/tto/a r c hi ve/f i nd /Tat e/w : 1 94 4 -0 5-0 1 % 7 E 1 94 4 -0 5-0 6/1 % 26pr ev% 3 D /t t o /ar c hi ve/f rame/g o t o /Tat e / w : 1 9 4 4 - 0 5 -

01 %7E1 9 44-05-06 / 3 %26ne xt%3D/tto/a rchive /fra m e /g oto/Ta te /w:194 4 -0 5-0 1 % 7 E 1 94 4 -0 5-0 6/5> [ac c es s ed 24 /1 1 /20 ] 25 Elisab eth B lan c h et an d S onia Zhuravlyova , Pre fa bs: A so cia l a nd ar c hi t ec t ural hi s t o r y, 1 s t ed n, (S w i nd o n, H i s t o r i c E ng l and , 20 1 8 ), p g . 29.

2 6 Tay lo r Wo o dro w, Taylor Wood r ow, n/a <https://www.taylorwo o drow. c o m/ab o ut -us /o ur -her i t ag e. ht ml > [ac c es s ed 0 4 /0 1 /20 ]

Ho mes f o r h e r o e s 36

Fig ure 44 E x hi b i t i o n o f t he p r ef ab ho mes at t h e Ta t e G a l l e r y i n 1 94 4 Fig ure 45 Tar ran p r o t o t yp e as s ho w c as ed at t h e Ta t e G a l l e r y ex hi b i t i o n i n 1 94 4

T h e h o u ses t h a t m ak e up the E x c a l i b u r E st a t e we r e UniS ec o m o dels, na m ed s o afte r t h ei r ma nu fa ct u rer ‘Se l e ctio n E n g i n eeri ng Co Lt d’. The r e ar e t w o t yp es; t h e M a r k 3, which h a s a c ent ra l ent rance , and t h e M a rk 2 w h i ch has a co r ne r e nt ra n ce. B ot h des igns we r e t w o - b edro om bu ngal o ws with a k i tc h en, li vi ng ro om, bathr o o m a n d sep a ra t e WC.

27 2 8

Co ns tr uc te d fr om asb e stos ce me nt a r ou n d a timb e r frame th e main fac tor th at s e t the Un i- S e c o apar t fr om o the r ma n u fac tu r e r s was its ‘k it-o f-par ts’ d e sign an d th e fl e xibil ity th at th is pr ov id e d .

The ho use s ar r iv e d on site ‘ with kitc h e n /b ath r o om u n its pr e -as s emb l e d an d th e r e st ar r iving in fl at- pac k pan e l units and asse mb l e d ton gu e and-gr o o v e - sty l e’ 2 7 mak in g co ns tr uc tion v e r y e ffic ie n t (se e image s o n pag e s 18 an d 19 ). For this r e ason , th e Mar k 3 Un iSe co de s ig n ‘ was th e th ir d most co mmo n ty p e of th e pr ogramme with 29,0 0 0 b u il t.’ 2 8

Joh n B ou gh to n , Muni c ip al Dr eams : T h e Ris e an d Fal l of Cou n cil Hou s in g, 1 s t ed n (L o nd o n, Ver s o Bo o ks , 20 1 8 ), pg . 7 1 .

Pau l Fran c is, ‘ Th e h istory of Uni-S e co S tructure s - g ue st blog p os t ’, T he P r e fa b Muse um , (1 7 t h No vemb er 20 1 6) <ht t p s : //w w w. pr ef ab mus eum. uk/c o nt ent /his t or y / t h e - h is t or y - of -u n i-sec o-st ru c t u re s-g ue st-blog -p ost> [a cce sse d 30/10/20].

Ho mes f o r h e r o e s 37

I t w a s n’t ju st t h e co ns tr uctio n o f th e pref a bs t h a t we r e r e v o lu ti ona ry, t h e bungal o ws w e r e k it t ed ou t w i th al l the mo d e r n t ech nologie s o f th e ti me i nclu di ng buil t-in f u r n i tu re, cent ra l he ating a nd h o t w a t er. ‘Ju st afte r the w a r, a b ou t a qu a rt er o f the Bri ti s h p op u la t i on didn’t have ma i ns elect ri ci t y s uppl y ’ 2 9 a nd t h e ref ore t h e El e ctr ical D e v e l op m ent Asso ciatio n ( EC A) w r o t e a n i nst ru ct i o n manual to h elp t h e new res ide nts u nd erst a nd a nd m ake us e o f th e i r t ech nolog y. Each pr e fab h a d ‘s i x elect ri c p owe r p o ints : tw o i n t h e ki t ch en, two in the l i v i ng ro om a nd one in e ach b e d r o o m .’ 3 0 T h e k i tch en i t self was a m o d ern develop m e nt o f the Fra nk f urt Ki t ch en, 3 1 which w a s d esi gned i n 19 26 by M a rg a r et e Sch u et t e-Liho tzky, a n d ex em p li f i ed p io ne e r ing ‘ bu i lt - i n’ desi gns and s pace s av i n g solu t i ons. 3 2 In 1951, t h e Wom en’s G rou p o n Publ ic Welf a re rep ort ed t hat ‘the m o d erni t y of t h e kitche n and b a th r o om , sensi ble pl umbing a n d t h e la rge wi nd o ws we r e t h e m ai n rea sons f o r wo me n’s o v era l l sa t i sfa ct i on with the p r e f a b s .’ 3 3

Fi gure 46 Uni-S e co kitche n Ph o to graph ed by Elisa b e th Bla nche t, 2012 Fi gure 47 A plu g so c ket in the living ro om Ph o to graph ed by Elisa b e th Bla nche t, 2012

2 9 30 3 1 32 33

Elisab et h B lan c h et an d S onia Zhuravlyova , Pre fa bs: A so cia l a nd ar c hi t ec t ural hi s t o r y, 1 s t ed n, (S w i nd o n, H i s t o r i c E ng l and , 20 1 8 ), p g . 3 7. ibid (pg 3 7). ibid (pg 3 6 ).

Th e Fran kf u rt Kitc h en, n/a , MAK (Muse um of a pplie d a rts), Vie nna <ht t ps : //w w w. mak. at /en/t he_f rankf ur t _ki t c hen_1 > [ac c es s ed 27 /1 2/20 ].

Elisab eth B lan c h et an d S onia Zhuravlyova , Pre fa bs: A so cia l a nd ar c hi t ec t ural hi s t o r y, 1 s t ed n, (S w i nd o n, H i s t o r i c E ng l and , 20 1 8 ), p g . 3 7.

Ho mes f o r h e r o e s 38

Fig ure s 48 -50 Bui l t i n s hel vi ng , ki t c hen o f Uni -S ec o h om e P ho t o g raphed b y E l i s ab et h Bl anc het, 2 0 0 4 - 2 0 0 9

The Mi ni st ry o f Wo rk s h a d a lso pre d i ct e d a f o rth c om in g f urni t ure sho rt a ge a n d o ut li ne d t he ne e d f o r b u il ti n f urni t ure wi t hi n t h e b r ief .

I n t he Uni -S e co pre f a b s , th is m a ni f e st e d a s a f o ld - ou t ki t che n t a b le a nd b u il t- in st o ra ge (such a s wa rdr ob es in t he b e d ro o m s a nd sh el v in g in t he li vi ng ro o m a nd k itc h en , pi c t ure d i n f i gure s 4 8- 5 0 ) .

Thi s wa s he lpf ul t o t h e n ew t e na nt s a s m a ny ha d l os t a l l o f t he i r p o sse ssi o ns in th e B li t z a nd d ue t o sho r ta g es in m a t e ri a ls a nd ski lle d l a b ou r, ha d t o go wi t ho ut f o r m a n y m o nt hs. “I re m e m b er w e d i d n’ t have m uch f ur n itu r e a nd no ca rp e t i n t he p r ef a b , so m y gra nd m o t he r w en t o ut a nd b o ught gre y s u r p l u s A rm y b la nke t s, m a c h in ed t he m t o ge t he r i n a q u il ted pa t t e rn a nd put gre en b i nd i ngs o n t he e d ges , a n d we ha d t he se a s c a rp ets in th e b e d ro o m .” 3 4 The re i s m uc h t o a d m ir e a b o ut t he d e si gn o f t h e Uni -S e co d we lli ngs a n d t he pla nni ng o f t he es ta te a s a who le . I n t he ne x t se ct i o n o f t hi s d i sse r ta tion , I wi ll o ut li ne t he m ain a cco m pli shm e nt s i n th e d e si gn o f Exca li b ur a s i d e nt i f i e d wi t hi n t he d e sc ri pt i o n i n t he li s tin g e nt ry. I wi ll a na ly se th es e suc ce sse s a nd i d e nt if y whe t he r t he li st i ng h a s pro t e ct e d t he se e le m en ts b e f o re st ud y i ng b ui l din g co nse rva t i o n a s a wh ol e a n d i t s li m i t a t i o ns i n re l a tion to t he Exc a li b ur Est a t e .

3 4 Val er i e S o mmer vi l l e, i nt er v ie w e d b y a u t h or s , L o nd o n, 20 1 3 . A s c i t ed i n: E l i s ab et h Bl a n c h e t a n d S on ia Z huravl yo va, P r ef ab s : A s o c i al and ar c h it e c t u ra l h is t or y, 1 s t ed n (S w i nd o n, H i s t o r i c E ng l and , 20 1 8 ) , p g. 38 .

Ho mes f o r h e r o e s 39

Figure 51 Eddie O’Ma hony a nd his fa mily Ph otog ra phe d by Elisa b e th Bla nche t, 2012

“

We o p ene d the door a n d my w i fe sa i d:

What a lovely b i g ha ll! We c a n g e t t h e pra m i n h e re .

T her e wa s a toi le t a n d a ba thr oom.

I’d b een use d t o a t o i le t i n t h e g a rde n .

T he k i tc hen had an E l ec tr o l u x r e fr i ge r a tor, a Ne w Wor ld ga s stove , p le n ty of cup boa r ds.

It was li ke c o m i n g i n t o a fo rt un e .

3 5

“

T h e r e w a s a n i ce ga r de n .

35

John Boug hton, Mu n icip al Dr eams : T h e Rise a n d Fa ll o f C o un cil Ho usin g, 1 s t ed n (L o nd o n, Ver s o Bo o ks , 20 1 8 ), pg . 29.

40

Ho mes f o r h e r o e s 41

“Homes for heroes” Little streets The Exca l ib u r Estate is v e r y l o w de nsity b y mo d e r n h ou sin g s tandar ds b e c au se it was co ns tr uc te d d u r in g a time ‘spec ia l i nt e re s t a s pa rt o f the l a r g e s t whe n l an d was pl e n tifu l . Th e survivin g p o s t- war p r e fa b e s t a t e Le wis ham Cou n c il R e sid e n tial in En gla nd , a u n iq u e ex a m p l e o f pr efa b e state p lan n in g o n a l a r g e Standar d s, pu b l ish e d in s ca le; t h e i r lo ca t i o n i n o n e o f the 20 12, s tate th at e v e r y n e w most hea vi ly- bo m be d bor o u ghs i n the de ve l o pme n t in th e ar e a sh ou l d c a pital w h i ch co m p o u nds thi s hi sto r i c 36 achie ve a d e n sity of 180 - 2 10 signific a nce . . .’ habitabl e r o oms p e r h e c tar e ( hr /ha) 3 7 wh e r e a h ab itab l e r o o m is d e fin e d as ‘a r o om us e d, o r in te n d e d to b e u se d , fo r dwe ll in g h ou se pu r p ose s ( incl udin g ... a k itc h e n b u t n ot a bathr o om).’ 3 8 Base d on th is de finition th e pr e fab Ex c al ib u r Es tate is 12 0 h r /h a an d wil l 36 Hist o ric En glan d, Historic Eng la nd, 2009 incr e as e to 184 h r /h a with th e <h tt ps:/ / h ist o ric en gland.org .uk/listing /the -

list / list -en try / 1 3 9 3 21 2> [a cce sse d 20/11/20]. co mpl e tion of th e Hu n te r s r e de ve l opme n t.

Th e list ent ry fo r Ex ca li b u r states tha t t h e 6 p re fa bs a lo ng Per san t Ro ad ar e Gr ade II li s t e d fo r t h e fo l l o wi n g r ea son s:

The l o w d e n sity of Ex c al ib u r al l o we d for c ar e fu l l y co ns ide r e d u r b an pl an n in g .

This is ev id e n t in th e o r ie ntation of th e pr e fab s, which al l ows for max imu m natural ligh t, an d th e g r ou pin g o f the home s in c l u ste r s of 6 which ar e in te r c on n e c te d b y l ittl e s tr e e ts.

Th is c on sid e r e d d e sig n m a k es th e e state v e r y p e ac e f ul a s th e r e su l t fav ou r s p e d es t ri a n ac c e ss with v e r y fe w v ehi c ula r r oad s. Th is c omb in e d w i t h t he str on g c ommu n ity ma d e t he e state an e x tr e me l y fu n a n d safe pl ac e to gr ow u p. “ B ec a us e of l ac k of motor traffi c , w e we r e fr e e to r oam al l o v er t he pr e fab e state . A l l th e k i d s pl ay e d game s. We h ad a la rg e mosq u ito n e t th at we us ed a s a te n t in th e gar d e n an d w e ha d sl e e p ov e r s. S e c u r ity w a s n ev er an issu e .” 3 9 Un for tu n ate l y, th e 6 li s t ed pr op e r tie s of Ex c al ib u r a re al l on on e str e e t, Pe r s a n t R oad , on th e p e r iph e r y o f t he e state me an in g th at the urb a n pl an n in g of Ex c al ib u r i s n o t pr ote c te d in th e l istin g a n d th e se l ittl e str e e ts wil l b e lo s t d u r in g th e r e d e v e l opm en t .

Fi g u r e 5 2 (previou s pa g e) T h e l i t t l e st reet s of Ex c alibu r P h o t o g raph ed by Elisab et h B lanche t, 2004 Fi g u r e 5 3 (top) P l an o f t he Exc alibu r Est ate Fi g u r e 5 4 (b ottom) T h e l i t t l e st reet s of Ex c alibu r P h o t o g raph ed by Elisab et h B lanche t, 2004

37 Le wi s ham Co unc i l , R e sid e n t ia l d e sig n st a n d a r d s: supple m e n t a r y pla n n in g d o cum e n t . L o ca l d e v e lo p ment fr am e w o r k, (L o nd o n, 20 0 6), p g . 9, <f i l e: ///C: /Us er s /Ho me/Do w nl o ad s /Res i d ent i al D evel o p m e n t S t a n d a r d s S P D.

p d f > [ac c es s ed 1 3 /1 0 /20 ] 38 Planni ng p o r t al , P la n n in g po r t a l, n/a <ht t p s : //w w w. pl anni ng p o r t al . c o . uk/d i r ec t o r y_r ec o r d / 2 7 5 / h a b it a b l e _

ro oms > [ac c es s ed 26/1 1 /20 ] 39 Ala n Br i ne, i nt er vi ew ed b y aut ho r s , L o nd o n, 20 1 4 . A s c i t ed i n: E l i s ab et h Bl anc het and S o n ia Z h u rav l y ov a ,

Pre f ab s : A s o c i al and ar c hi t ec t ural hi s t o r y, 1 s t ed n (S w i nd o n, H i s t o r i c E ng l and , 20 1 8 ), pg . 4 1 .

Ho mes f o r h e r o e s 42

Fi gure 55 (top) B eau tif u l ga rde ns of Exca libur Ph o to graph ed by Elisa b e th Bla nche t, 2004 Fi gure 56 (l e ft) A garden priz e to Eddie O’Ma hony Fi gure 57 ( ri ght ) Lin da Sin n o c k in he r pre fa b g a rde n P h o to graph ed by Elisa b e th Bla nche t, 2003

Ho mes f o r h e r o e s 43

“Homes for heroes” A plot of our own Ano the r u n iq u e pl an n in g fe atur e o f Ex c al ib u r is th e fac t that e ach pr e fab h ad its own pl o t o f l an d wh ic h in c l u d e d a fr o nt an d b ac k g ar d e n . Th is was e s p e c ial l y imp or tan t fo r the f ir st r e sid e n ts as th e war time ‘ Dig for V ic tor y ’ mo ve men t c on tin u e d , al on g with ration in g , u n til 19 54 .

Campaig n s su c h as th is p oste r ( figur e 5 8) we r e par t of th e mo ve men t ‘aimin g b oth to e ns ur e th at p e opl e h ad e n ou g h to e at, an d th at moral e was k e pt high .’ 4 1

‘ Th is sc he m e h a s bro u g h t u s i n to c l o se c ontac t w i t h t h o u s a nd s o f ten an ts o f tempor ar y h o us i ng e s t a t es who had n ever ha d a ny pre vi o us o p p o r tu n i ty fo r g ar d enin g . O w i ng t o t h e en c o u r agem en t b r ough t by a t a ng i ble g i f t, m an y househ old e rs h a ve pla n ted thei r g ar d ens a nd be e n s urpri sed an d thr i l l ed to see the m f lo uri s h .’ 4 0 Dor othy d e R o t h s ch i ld , 1 8 th Jan 1 9 4 9 .

Fi g u r e 5 8 Di g f o r v i c t o ry c ampaign p ost er

Th e fr on t g ar d e n s al so c on tr ib u te d gr e atl y to t he tig h tl y k n it c ommu n it y o n th e e state as th e y we re t he site for fr ie n d l y e x c h a n g es with n e ig h b ou r s, a c o m m o n o c c u r r e n c e in Ex c al ib ur a s t he l ow r ise b u n gal ows an d n a rro w path way s mad e th e g a rd en s fe e l pr iv ate an d c omf o rt a b le.

Many pr e fab s ‘sto o d on l ittl e mo r e tha n b ar r e n b u il d in g s ite s o r l an d on l y v e r y r e c e n tl y cl e ar e d of b omb d e b r is’ 4 2 an d the r e fo re th e n e e d was e v e n gr e ate r f or th e r e sid e n ts to pl ant the ir pl ots in or d e r to impr o ve th e ae sth e tic s of th e vil l age s . Th e W V S (Wome n’s vo l untary se r v ic e ) mad e it the ir du ty to h e l p an d ‘co l l e cted pl an ts an d se e d s fr o m do n or s, ofte n in th e co untr ysid e , an d d e l iv e r e d the m to n e w r e sid e n ts.’ 4 3 This s ch e me was in c r e d ib l y p o pul ar with th e r e sid e n ts and fo r m an y, g ar d e n in g b e came a h ob b y th at l aste d a l ife time , as d o c u me n te d in El is ab e th Bl an c h e t’s r e c e n t pho to graph s (figu r e s 55 an d 57 ) . In 2 0 12 , sh e in te r v ie we d Eddie O’ Mah on y, th e ol d e st r e s ide nt of Ex c al ib u r b e for e his de ath in 2 0 15, wh o pr ou d l y s ho we d his awar d for win n in g the ‘Pr e ttie st Fr on t Gar d e n Co mp e tition’ in Ju l y 19 85 4 4 ( figur e 5 6 ).

4 0 Th e Times, ‘ W V S Garde ns S che m e’, T h e Times, 18th Ja nua ry 1949 <h t t p s : //w w w. t het i mes . c o . uk/ar c hi ve/ar t i c l e/1 94 9-0 1 -1 8 /5/8 . ht ml # s t ar t % 3 D 1 94 9-0 1 -0 1 % 2 6 e n d % 3D 1 9 4 9 - 01 -3 1 %26 terms%3 Dgar de ning %26ba ck%3D/tto/a rchive /find/g a rde n i ng /w : 1 94 9-0 1 -0 1 % 7 E 1 94 9-0 1 -3 1 /1 % 26pr ev% 3 D /t t o /ar c hi ve/f rame/g o t o /g ar d eni ng /w : 1 94 9 - 0 1 - 0 1 % 7 E 1 9 4 9 -

01 -3 1 / 2%26 n ex t %3 D/ tto/a rchive /fra me /g oto/g a rde ning /w:1949-01- 0 1 % 7 E 1 94 9-0 1 -3 1 /4 > [ac c es s ed 1 1 /1 1 /20 ] 4 1 B rit ish Library, B ri ti sh L ibr ar y, n/a <https://www.bl.uk/le a rning /ti mel i ne/i t em1 0 7 597. ht ml > [ac c es s ed 26/1 1 /20 ].

4 2 Elisab eth B lan c h et an d S onia Zhuravlyova , Pre fa bs: A so cia l a nd ar c hi t ec t ural hi s t o r y, 1 s t ed n (S w i nd o n, H i s t o r i c E ng l and , 20 1 8 ), p g . 4 3 .

4 3 ibid (pg. 43 ).

44 ibid (pg. 45).

44

Fig ure 59 (ab o v e ) Res i d ent s f i g ht f o r t hei r pr ef ab ho mes i n Red d i t c h P ho t o g rap hed b y E l i s ab et h Bl anc het , 20 0 3 Fig ure 6 0 (le f t) Res i d ent s f i g ht f o r t hei r pr ef ab ho mes i n E x c al i b ur P ho t o g rap hed b y E l i s ab et h Bl anc het , 20 1 2

Co ns er vat i on 45

Conservation The residents’ fight for their prefab homes T h e li s t i ng of 6 p refabs in the E x c a li b u r E st a t e i n 20 0 9 was a resp o nse t o m a ny ye ar s o f c a mp a i gni ng by t h e r e s ide nts a nd t h e 20t h Cent ur y So cie ty.

L ew i s ha m Cou nci l had e x pressed i nt erest in the l and th a t t h e p refa bs o ccupie d afte r a 2 0 04 rep ort by Savil l s Es tate A g e n t m a rked t h e pr e fabs a s u n a c cep t a ble u nde r the D e c ent Hom es St a n dar d. 4 5 It w a s c a lcu la t ed by Le wis ham C o u nc il t h a t i t woul d co s t £ 6 5 , 0 00 p er h om e to r e fur bis h th e prefa bs a nd t h e r e fo r e w o rk b ega n wi t h Londo n and Qu a d ra nt Hou si ng As s o ciatio n ( L & Q ) t o redesi gn the e s tate .

I n 2 0 1 0, a conf i dential bal l o t w a s c o ndu ct ed w h e r e the r e s i d ent s were a ske d ‘Ar e yo u in f av o u r of t h e rege ne ratio n o f th e Ex ca li bu r E s tate as pro p o s ed by L& Q ? ’ 4 6 The r esu l t wa s t h a t 5 6 . 2% vo te d in s u pp o rt of t h e rede ve l o pme nt a n d t h e deca nt i ng pr o ce s s s t a r ted a lm ost i m me diate l y. 4 7

El is ab e th Bl an c h e t do cume n te d th e c ampaig n for co ns e r vation an d me e tin gs with the c ou n c il fr om th e p o int o f v ie w of a h an d fu l of r e s ide nts. In h e r fil ms th e y e xpr e s s d isapp oin tme n t an d fr us trati on at th e c ou n c il ’s handl ing of th e r e d e v e l opme n t and it is c l e ar th at th e y fe e l as if the y w e r e n’ t in v ol v e d in th e pr o ce s s .

W hil s t I u n d e r stan d th e r e as o ns b e h in d L e wish am Co uncil wan tin g to d e mol ish the pr e fa b s, its pu b l ic co ns ul tation an d d e c an tin g pr o ce s s es app e ar fl awe d . Th e r e s ide nts we r e or ig in al l y pr o mis ed th at th e c ommu n ity wo ul d b e k e pt toge th e r and mo v e d in to th e r e b u il t e s tate ho we v e r th e r e al ity of the de ca n tin g pr o c e ss l e ft the co mmu n ity sh atte r e d and ‘r e h ou se d in d iffe r e n t par ts o f th e b or ou g h an d b e yo nd.’ 4 8 In my in te r v ie w with El is ab e th sh e sp ok e ab ou t Jim Bl ack e nd e r, th e l e ad e r of th e campaig n to sav e th e e state , and the e motion al tol l th e e xp e r ie n c e h as h ad on h im an d his fami l y.

Th e l ov e th e r e sid e n ts o f Ex c al ib u r fe l t for th e i r ho m es was on e of th e gr e at t ri um p hs of th e e state . Man y, w ho ha d l iv e d in Ex c al ib u r fr o m t he b e gin n in g, e x p e r ie n ced t he v e r y b e st tr e atme n t b y t he gov e r n me n t wh e n th ey w ere gifte d th e ir h ome s in a t i m e o f gr e at n e e d . It is sh am ef ul t ha t 70 y e ar s on th e ir e x p e ri en ce h as b e e n so v astl y d iff eren t an d th e v al u e of k e e p i n g s uch a str on g su stain ab l e c om m un i t y toge th e r h as b e e n ov e rlo o k ed b y th e l o c al au th or ities .

“I s a w him m a y b e a few y ea r s a fterwa rds . He h a d m oved t o Ken t a nd he was s t i l l ver y, y ou kn ow, h e cried at s om e p oi n t s , wh i l e I wa s doing the i n t er vi ew.” 4 9 ( Ful l int e r v ie w pag e s 6 0 - 6 6 )

4 5

4 6

4 7

4 8 4 9

A rc h it ec ts f or So c ial Housing , Archite cts for S o cia l Housing , 2017 <ht t ps : //ar c hi t ec t s f o r s o c i al ho us i ng . c o . uk/20 1 7 /0 6/26/es t at es -o f -memo r y-t he-ex c al i b u r - e s t a t e / > [ ac c essed 26 / 1 1 / 20].

Plan n in g C o mmitt ee (B), Excal ibu r Es tate r egen er ation ar ea, L on d on , S E 6, (L o nd o n, 20 1 1 ), p g . 4 , <ht t ps : //c o unc i l meet i ng s . l ew i s ham. g o v. uk/d o c ument s /s 268 3/ E x c a l ib u r % 2 0 Est ate%20Regen erat ion%20Are a %20S E6.p df> [a cce sse d 12/11/20] A rc h it ec ts f or So c ial Housing , Archite cts for S o cia l Housing , 2017 <ht t ps : //ar c hi t ec t s f o r s o c i al ho us i ng . c o . uk/20 1 7 /0 6/26/es t at es -o f -memo r y-t he-ex c al i b u r - e s t a t e / > [ ac c essed 26 / 1 1 / 20].

Elisab eth B lan c h et an d S onia Zhuravlyova , Pre fa bs: A so cia l a nd ar c hi t ec t ural hi s t o r y, 1 s t ed n, (S w i nd o n, H i s t o r i c E ng l and , 20 1 8 ), p g . 8 3 .

Elisab et h B lan c h et, inte rvie w by a uthor, London (via zo om ), We dn es d ay 7 t h O c t o b er 20 20 (f ul l i nt er vi ew p g . 60 -66).

Co ns er vat i on 46

‘ Thr oughout hi stor y, p la ce s, bui ldi n gs and si tua ti on s ha ve be e n r e use d a n d a dapted; they ca n sur vi ve a s cultur e s a n d ci vi li sa tions c hang e.

The a lr e a dy bui lt p r ovi de s a di r e ct link with the p a st; i t i s a con n e cti on w i th the ve r y bu il ding br i cks of our soci e ty. The e xi sti n g te ll s the tal e or stor y of how a p a r ti cula r cultur e e vol v ed.’ 5 0

50 S al l y S t o ne, Un Do in g B uild in g s: A d a pt iv e Reu s e a nd Cu l t u r a l Me m o r y, 1 s t ed n (L o nd o n: Ro ut l ed g e, 20 1 9) p g . 3 6.

Fi gu r e 6 1 Bo mb d amag e i n L o nd o n a f t e r t h e B l it z Fi gu r e 6 2 Po s t er ad ver t i s i ng t he Ret r oFir s t c a m p a ign

Co ns er vat i on 47

Conservation A history of building conservation W h i l st st a t u t ory ‘lis ting ’ as we k n o w i t t o day wa sn’t co nce ive d u nt i l a ft er t h e Second Wo r l d Wa r i t st em m ed f rom the p o pu l a r op i ni on i n the 19th c ent u r y t h a t we sh o ul d ‘tr e at o u r a nci ent bu i ldi n gs as mo n u ment s of a bygo ne ar t’ 5 1 a nd p r o t ect t h em f r o m mo de r n a rt t h a t ‘ca nnot m eddl e with w i t h o u t dest royi ng .’ 5 2 This o p i ni o n wa s p op u lar is e d by the ‘So c i e ty For T h e Pr o te ctio n Of A nc i ent B u i ldi ngs’ ( SPAB) and i ts f o u n der Wi lli a m Mo r r is who i s q u o ted i n t h e SPAB manife s to a n d b eli eved t h a t ‘ if it b e co me s i n c o nv eni ent for i ts pr e s e nt u s e … ra i se a not h er buil ding ra th e r t h a n a lt er o r e nl ar ge the o ld o n e.’ 5 3 A lt h o u gh bu i ldi ng co ns e r vatio n h a s ev olved consi d e rabl y s ince t h i s ti me, desi gn t e ams s til l ‘ f a c e o nerou s consul tatio n p r o c esses’ 5 4 w i t h ris k-ave r s e h e r i t a g e b o di es w he n wo r k ing w i t h l i s t ed bu i ldi n gs and as a r esu l t oft en favou r ne w-buil d p r o j ec ts over a da p tive r e us e .

In a pr e v iou s ac ad e mic e ssay, I r e s e ar c h e d th e A r c h ite c t’s Jo ur nal ’s ‘ R e tr oFir st’ c ampaig n which is ‘c h ampion in g r e u se in the buil t e n v ir on me n t.’ 5 5 The cam paign h as id e n tifie d a VAT an omal y wh ic h me an s that ‘ we pay 2 0 p e r c e n t VAT on mo s t fo r ms of r e fu r b ish me n t and r e no v ation an d ty pic al l y b e twe e n 0 p e r c e n t an d 5 p e r ce nt o n emb o d ie d c ar b on guzzl ing n e w b u il d s.’ 5 6 This imb al an c e h as e x iste d s ince the VAT sy ste m was fir st e s tabl is h e d in 19 73 h owe v e r initial l y th e d iffe r e n c e was minimal . O v e r th e y e ar s th e ine qual i ty h as in c r e ase d and no w g r e atl y c on tr ib u te s to the de c ision to d e mol ish rathe r th an r e tr ofit e x istin g buil ding s.

In l igh t of th is fac t an d t he th r ow- away c u l tu r e th a t w e h av e b e c ome ac c u stom ed to in r e c e n t y e ar s, b u i ld i n g c on se r v ation is v e r y m uc h n e e d e d to pr ote c t imp o rt a n t wor k s of ar c h ite c tu r e f ro m b e in g d e mol ish e d . Ho w ev er, i t mu st e v ol v e to h e l p, i n s t ea d o f h in d e r, th e r e u se of e xi s t i n g b u il d in g s. R e c e n t mov es b y H istor ic En gl an d su c h a s sh owin g pu b l ic su pp o rt f o r t he ‘ R e tr oFir st’ c ampaig n a s w ell as th e pu b l ic ation of ‘ T here’s n o pl ac e l ik e ol d h omes’ 5 7 (2 0 2 0 ), sh ow sign s of cha n g e h owe v e r th e r e is a l on g w ay t o go b e for e th e h e r itag e d eb a t e is ‘ l ifte d fr om d e g r e e s o f ha rm to th e p ote n tial for b e n ef i t so c ial , c u l tu ral , e c on o m i c a n d d e fin ite l y ar c h ite c tu ra l.’ 5 8

5 1 No rman Kelvin , The C ol l ected L etter s of Wil l iam Mor r is , Vol u me 1 , 1 848 -1 880, 1 s t ed n (P r i nc et o n: P r i nc et o n Uni ver i s t y P r es s , 1 98 4 ) pg . 3 60 .

5 2 ibid, pg. 3 6 0.

5 3 SPA B , The Mani festo o f th e S ociety for th e p r otection of An cien t Bu il d in gs (L o nd o n, 20 1 5) <ht t p: //o r c p. hus t o j . c o m/w p-c o nt ent /up l o ad s /20 1 5/1 0 /1 8 7 7 -T he-S PA B-M a n if e s t o. p d f >

[ ac c essed 04/ 01 / 21 ].

5 4 B iba Do w, ‘ B iba Do w : ‘Profe ssion’s fa ilure to e mbra ce re trofits is a mac ho hang o ver o f Mo d er ni s m’ T he A r chit e ct ’s Jo ur n a l, 20 t h Januar y 20 20 <ht t ps : //w w w.

arc h itec tsjo u rn al.c o .uk/ne ws/opinion/biba -dow-profe ssions-fa ilu r e-t o -emb rac e-r et r o f i t s -i s -a-mac ho -hang o ver -o f -mo d er ni s m> [ac c es s ed 23 /1 2/20 ] 5 5 W ill Hu rst, ‘ In tro du c ing R e troFirst: a ne w AJ ca mpa ig n cha mpion i ng r eus e i n t he b ui l t envi r o nment ’ T he A r chit e ct ’s Jo ur n a l, 1 2t h S ept emb er 20 1 9 <ht t p s : / / w w w.

arc h itec tsjo u rn al.c o .uk/ne ws/intro ducing -re trofirst-a -ne w-a j-campai g n-c hamp i o ni ng -r eus e-i n-t he-b ui l t -envi r o nment > [ac c es s ed 26/0 2/20 ] 5 6 ibid.

5 7 No te: A do c u men t c onta ining pione e ring ‘re se a rch into the e m b o d i ed c ar b o n o f t he nat i o n’s ex i s t i ng b ui l t her i t ag e 5 8 Ric h ard Waite, ‘ Retro First: I s the he rita g e se ctor a da pting to re use? ’ T he A r chit e ct ’s Jo ur n a l, 28 t h Feb r uar y 20 20 <ht t p s : //w w w. ar c hi t ec t s j o ur nal . c o . uk/news / r e t r of ir s t - is -

t h e-h erit age-sec t o r-ada pting -to-re use > [a cce sse d 24/11/20]

Fi gure 63 Listed pref ab w ith orig ina l do or a nd windows (no. 39, Pe rsa nt R oa d) Fi gure 64 Mo difie d pre fa b (no. 43, Pe rsa nt R oa d) Fi gure 65 Mo difie d pre fa b (no. 41, Pe rsa nt R oa d)

48

Fi gure 66 Mo difie d pre fa b (no. 24)

Co ns er vat i on 49

Conservation Windows and doors Th e list ent ry fo r Ex ca li b u r states tha t t h e 6 p re fa bs a lo ng Per san t Ro ad ar e Gr ade II li s t e d fo r t h e fo l l o wi n g r ea son s: ‘th e Uni-Se co p re fa bs a r e al so o f special arc hite c tu ral i n t e r e s t a s st r uc tur es bui lt u s i ng t he i n n o v ati v e syst em of pre fa bri ca t i o n whi c h d i s p l a y moder nist in flu e n c e s i n thei r wr ap-ar o u n d c o rn e r w i nd o w s an d appear a nce o f fl at ro o fs; these p r efab s ar e w it h i n t h e le ast- al t e r e d p o r t i o n of the im p o rt a nt Ex ca li b u r E state, on a r oad w h e re t h e c o n s i s t e nc y o f surviva l i s g o o d .’ 59

A s tr o ng c r itic ism of th e l is ting of th e Ex c al ib u r Estate is the fac t th at on l y 6 of th e pr e fabs we r e c h ose n as th e y ar e the ‘ l e ast- al te r e d p or tion’ o f the e s tate . I b e l ie v e th is co mpl e te l y misse s th e mar k as much of th e su c c e ss of Excal ibur is as a r e su l t of the o ccupan ts’ wil l in gn e ss to maintain an d p e r son al ise the ir dwe l l in gs. ‘ Th e y we r e n ot fl ats but “a h ome of ou r own” .

And the y l aste d . Th ou g h most we r e bare l y in su l ate d wo o d frame s , o c c u pan ts we r e ab l e to maintain th e m an d k e e p the m s tan d in g l on g afte r th e ir o fficial 1 0 - y e ar l iv e s.’ 6 0 W he n visitin g Ex c al ib u r, Emil y G e e , fr o m H istor ic En g l an d , e xpl ained th at ‘ l e ast- al te r e d ’ , in r e l ati on to th e pr e fab s, me ant “th at th e y h ad or ig in al windo ws, or igin al d o or s an d whe r e th e timb e r frame c ou l d b e e vide n t fr om th e ou tsid e” 6 1 and the r e for e th e y h ad n ot b e e n de corate d with pain t or cl adding pan e l s.

This de c ision is n ot su r pr isin g give n the te n d e n c y of b u il d in g co ns e r vation ists to ign or e the us e r an d e v ol u tion of a buil ding ov e r time .

5 9 60

6 1 6 2

6 3

6 4

‘A r c h ite c tu ral h istor y, li k e th e h istor y of an y ar t f o rm is e x tr e me l y se l e c tiv e’ 6 2 an d ar c h ite c tu r e th at ha s b e e n ad apte d ov e r tim e i s n ot fav ou r e d b y th e l i s t i n g sy ste m as th e au th or s hi p of th e str u c tu r e b e c om es b l u r r e d . Th is is par ticula rly appar e n t in th e c ase o f mo d e r n ist ‘ maste r pieces’ wh e r e th e min imal pure for m h as b e c ome a l iv ed in an d p e r son al ise d h o m e. 6 3 Th e wrap- ar ou n d win d o w s th e mse l v e s ar e a d e c la ra t i o n of mo d e r n ist d e sig n a n d th e r e for e th e pr e fab s w hi ch h ad n e we r u n or ig in al w i n d o w s we r e d e e me d l e ss v al ua b le b y H istor ic En gl an d .

W h il st it is ob v iou s w hy or igin al fe atu r e s may b e imp or tan t fr om a h e r i t a g e a n d ar c h ite c tu ral p e r sp e ct i v e, i t se e ms l ik e a stran ge r eq ues t wh e n c on sid e r in g th e f ut ure l iv e ab il ity of th e pr e fa b s . I t was wid e l y r e p or te d b y p ref a b te n an ts ac r oss th e c ou n t ry th at k e e pin g th e b u n g a lo w s war m in win te r was te rri b ly d iffic u l t. “ It c ou l d b e s o co ld in th e pr e fab s with ic e f o rm i n g on in sid e of th e win d o w p a n es fr om th e c on d e n sation .” 6 4 Th e r e for e th e u pgrad e o f win d ows an d d o or s wo uld mak e th e h ome s mu c h m o re su itab l e for mo d e r n d ay li v i n g stan d ar d s.

Hist o ric En glan d, Historic Eng la nd, 2009 <https://historice ng la nd . o r g . uk/l i s t i ng /t he-l i s t /l i s t -ent r y/1 3 93 21 2> [ac c es s ed 20 /1 1 /20 ].

Simo n Jen kin s, ‘ Exc al ibur’s ca stle s built from p ostwa r dre a m s m us t no t b e d emo l i s hed ’, Gua r d ia n , 6t h Januar y 20 1 1 <ht t ps : //w w w. t heg uar d i an. c o m/c o mm e n t is f r e e / 2 0 1 1 / j an / 06 / ex c alibu r-c ast le s-pre fa b-p ost-wa r-de m olishe d> [a cce sse d 29/0 9/20 20 ].

Elisab et h B lan c h et, Pal aces for th e p eop l e, online vide o re cording , Yo uTub e, 1 2t h A ug us t 20 1 4 <ht t p s : //w w w. yo ut ub e. c o m/w at c h? v= FA kS 0 I i I 3 ns > [ac c es s ed 0 5 / 1 1 / 2 0 ] .

A n it a A ign er, ‘C o n su ming Archite cture : On the o ccupa tion, a ppro p r i at i o n and i nt er p r et at i o n o f b ui l d i ng s’, i n Tr a n sfo r m a t io n un w a n t e d ! He r it a g e -m a k in g a nd i t s ef fec t s i n L e C orb usi er’s Pessac estate, e d. by Da nie l Ma udlin a nd Ma rce l Ve lling a, 1 s t ed n (A b i ng d o n, Ro ut l ed g e, 20 1 4 ), p g . 8 6-1 0 4 , Tayl o r & Franc i s eBo o ks .

Not e: A w ell-kn ow n exa m ple of this wa s Le Corbusie r’s housing e s t at e i n Pes s ac . A i g er (20 1 4 ) w r o t e o f Co r b us i er ’s b el i ef t hat t he mo d er ni s t ho mes w o ul d e d u c a t e t h e ir o c c u pan ts an d th at th e y would simply a da pt to his a rchite cture . Ho w ever t he o p p o s i t e o c c ur r ed and t he r es i d ent s ad apt ed t hei r ho mes t o s ui t t hei r w ay of l if e a n d p erso n al taste. In 1 9 82 the whole e sta te wa s liste d a nd a te a m of ar c hi t ec t s and c o ns er vat i o ni s t s r emo ved al l as p ec t s o f p er s o nal i s at i o n f r o m t he es t at e r e t u r n in g it t o it s ‘ pu re st ate’ .

P ref ab Mu seu m, ‘A w onde rful childho o d in the Exca libur Esta te p r ef ab s’ T he P r e fa b Po st, Vo l 1 (20 1 4 ), pg . 1 -4 <ht t p s : //w w w. pr ef ab mus eum. uk/w p-c o nt ent/ u p l oa d s / 2 0 1 6 / 0 6 / P ref ab-Po st-201 4-c o mpre sse d.p df> [a cce sse d 26/11/20], pg . 1.

Co ns er vat i on 50

Conservation Listing is not the answer ‘Pl a c es t h a t a re a d a pt a b l e c an gen er ate assoc ia t i o ns w i t h t h e past an d wi th the fut ur e; the y cre a t e i nt e r c o n n ec ti o n s thr ough t i m e a nd s pa ce . T hey r etai n a s en se of t h e i r p re vi o us ex i sten c e whi l e al so pr ov i d i ng a n o p po r tu n i ty fo r the next . Th e y p o s s e s s t h e m n em o n i c qual it y of t h e a lre a d y t h er e.’ 6 5

Fi g u r e 67 R e m ai n i n g pref ab f ro m th e Fin ch La ne Esta te in Am e rs ham, n o w retain ed in t h e Chilte rn Op e n Air Mus e u m

Afte r anal y sin g th e l istin g o f the 6 pr e fab h ome s in the Excal ib u r Estate , I d o no t b e l iev e th at p ost- war ho us ing e state s ar e su itab l e fo r l is tin g b e c au se mu c h of the ir no tab il ity is c aptu r e d in the e s tate pl an n in g, o r ie ntation an d h ie rar c h y o f s paces. Th r ou gh statu tor y l is ting the on l y way to pr ote c t the s e e l eme n ts is to l ist th e e ntir e e state or mak e it a co ns e r vation ar e a, some th in g that is diffic u l t to ac h ie v e as l o cal co un c il s ar e b oth e ag e r fo r the lan d th at th e y o c c u py and do n’ t h av e th e fac il itie s to s upp or t th e n u mb e r of l is te d bu il d in g c on se n t appl ication s th at c ome with a l is te d mass- h ou sin g pr oj e c t. 6 6 Al s o , a l i stin g of th is sc al e the n b e come s v e r y r e str ic tiv e and in th e c ase of Ex c al ib u r wo ul d r e n d e r th e ar c h ite c tu r e uns uitab l e for mo d e r n d ay l iving.

I b e l ie v e th at th e l isti n g sy ste m fu n c tion s we l l wh e n pr ote c tin g in d iv i d ua l ar c h ite c tu ral maste r p i eces su c h as a state l y h ome o r a c h u r c h , h owe v e r wh en i t c ome s to mass h ou sin g a n o t her c ou r se of ac tion sh ou l d b e d e pl oy e d to b oth pr e s erv e i t s so c ial an d h istor ic im p o rt a n c e an d al l ow for ad aptiv e reus e.

W h e n r e se ar c h in g other p ref a b e state s, in al most al l c a s es th e l istin g h as r e su l ted i n a pr e fab b e in g u se d as a ho us e mu se u m or n ov e l ty ‘A i rb n b’ sty l e h ol id ay r e n tal an d t hi s sol u tion , al th ou g h succes s f ul in e d u c atin g v isitor s o n t he h istor y of th e pr e fab s , s eem s in su ffic ie n t for an e st a t e a s su c c e ssfu l as Ex c al ib ur. T he pr e fab s b e c ome ar c h i t ect ura l ob j e c ts r e mov e d fr om t hei r c on te x t with th e sol e p urp o s e of r e fe r e n c in g an d e d uca t i n g fu tu r e ge n e ration s ab o ut t hei r past.

A l th ou g h I b e l ie v e th a t li s t i n g is n ot th e an swe r I b e li ev e t ha t Ex c al ib u r is ‘a pr e c ious c ha p t er in th e n ation’s stor y w o rt h pr e se r v in g.’ 6 7 How b e s t t o d o so is a c ompl e x d il e mm a a n d in or d e r to mak e th is d eci s i o n , on e mu st e x amin e th e i s s ues o f te mp oral ity an d ad ap t a b i li t y in r e fe r e n c e to th e Ex c a li b ur Estate .

6 5 Graeme B ro o ker an d S a lly S tone , Re-r ead in gs : 2, 1st e dn (London, R I BA P ub l i s hi ng , 20 1 9) pg . 1 .

6 6 Not e: Th is w as men tione d by Eva Bra nscom e during he r inte rvie w (t rans c r i p t : pg . 67 -69). S he w o r ked f o r t he 21 s t Cent ur y S o c i et y and hel p ed t o g et t he B a r b ic a n

listed in 2003 . Sh e expla ine d tha t this wa s a strug g le b e ca use of t he ‘mas s ho us i ng ’ as p ec t and t he numb er o f l i s t ed b ui l d i ng c o ns ent r eq ues t s t hat t hi s c ou l d r e s u l t in .

Th e solu t io n w as t o w rite the ‘Ba rbica n Esta te Liste d Building Ma nag ement G ui d el i nes’ i n o r d er t o ad vi s e t he r es i d ent s w hat t hey c an and c an’t c hang e w it h in t h e ir h omes.

6 7 Simon Jen kin s, ‘ Ex c al ibur’s ca stle s built from p ostwa r dre a m s m us t no t b e d emo l i s hed ’, Gua r d ia n , 6t h Januar y 20 1 1 <ht t ps : //w w w. t heg uar d i an. c o m/c o mm e n t is f r e e / 2 0 1 1 /

j an / 06 / ex c alibu r-c ast le s-pre fa b-p ost-wa r-de m olishe d> [a cce sse d 29/0 9/20 20 ].

Ho w s ho ul d E x c al i b ur b e p r e s e r v e d ?

51

How should Excalibur be preserved?

Te m p o r a l i t y a n d t h e l i f e s p a n o f a h o m e ‘ Th er e is s o m e t h i ng co ntr ad i c to r y ab out b u i ld i ng s t ru ct u res wi th the kn ow led g e t h e y w i ll be r ai sed a sho r t ti me a ft e rw a rd s … Fo r a r c hi tec tu r e b y definition i s m e a nt t o be p er m an en t, to ser ve a p ra ct i ca l a nd al so aestheti c pur pose o ve r a n i nd e f i n i te p er i o d o f ti me.’ 68

T h e p r e dicte d 1 0-yea r l ife s p an o f the p re fab homes w as t h e amo un t of t ime t h at t he g o v e r n ment h a d c a l c u l a te d that th ey need ed t o c o nstr uct a p e rma nent h ou s i n g so lutio n . Wh en vi ew i n g Excalibur a s a t e m p orary so lution 10 yea rs s e em s an acce p tab l e p erio d h ow ev e r, it is stra nge wh en c on s i d e rin g the p sych ol ogica l a t t a c hme n ts we form w it h ou r h o me s.‘ We lo ok a t ou r b u i l d i n gs to ho ld u s, l ike a k i nd o f p sy cho logica l m o u l d , to a he lp ful vis ion of ou r s el v e s’ 6 9 an d therefore t h e p r op o s itio n that ret u rning w ar v e te ran s an d h omel ess vi c t i m s o f the B lit z wou l d see t h e i r p re fabs as a t emp ora ry s o l u t i on was fo o lis h.

W he n disc u ssin g th e l ife span o f a ho me th e r e ar e two par al l e l n ar r ativ e s to c on sid e r ; the amo u n t of time th at a famil y oc c u pie s a h ou se an d the l ife span of th e b u il d in g its e l f. The amou n t of time th at a famil y oc c u pie s a h ome is a de batable c ase an d on e wh ic h is de pe n d e n t on e v e r - c h an gin g cul tur e s. In th e UK, h ou sin g has tr ad ition al l y stood for hundr e d s of y e ar s an d it was co mmo n for on e famil y to stay with a hou se , passin g it d own thr o ugh th e y e ar s so th at it was o ccupie d b y man y ge n e r ation s.

I s po ke to my g r an d moth e r abo ut the c ou n c il pr ope r tie s that s he l iv e d in (se e pr e v iou s co nve r s ation on page 3 2 an d ful l inter v ie w on page s 70 - 73 ).

N owad ay s, c u l tu r e s h a v e c h an g e d an d it is u n l i k ely a h ou se wil l b e oc c u pi ed b y th e same famil y ov e r m a n y ge n e r ation s. Th is c u l t ura l sh ift c an b e attr ib u te d t o a ri s e in d iv or c e , fr e q u e n t c a reer c h an g e s an d e c on omic f a ct o rs su c h as r isin g h ou se p ri c es i n c ity c e n tr e s an d it is a ccep t ed th at a famil y may b e o n e o f man y oc c u pan ts in the lo n g l ife span of a h ou se .

Bu il t to l ast, th e ar c h i t ect ure of ou r h ome s stan d s fo r h u n d r e d s of y e ar s, ac q ui ri n g e x te n sion s or oth e r ad aptation s an d h ou si n g m a n y d iffe r e n t pe opl e . W e h a v e co m e to e x pe c t pe r man e n c e w hen e x pe r ie n c in g ar c h ite c t ure a n d th is may b e wh y th e q ues t i o n of wh at to d o with Ex ca li b ur is so c ompl e x . Th e pr e f a b h ome s we r e on l y in te n d ed t o pr ov id e a te mpor ar y h o us i n g sol u tion an d th e r e for e a re i n l imb o b e twe e n th e d es i re f o r th e ir c on tin u ation fr o m t hei r in h ab itan ts an d th e co un c i l’ s n e e d to r e pl ac e th e ir t i red ar c h ite c tu r e .

Buil t in th e 19 3 0 s, th e h ou se that s he g r e w u p in is al most 90 ye ar s ol d an d stil l stan d s tal l o n its pl ot in Ed g war e .

Me mbe r s of my famil y oc c u pie d the ho us e for 75 of its 9 0 ye ar l ife ; my gr e at- gr e atgr andpar e n ts mov e d in to it in the ir 30 s an d l iv e d th e r e u n til the y died , age d 87 an d 9 2 . My gr e at-gre at- au n t th e n l iv e d in the ho us e for a fu r th e r 2 0 y e ar s be fo r e p assin g away in 2 0 0 4 ( figur e 68).

Predicted lifespan of the prefabs

Fi g u r e 68 I l l u s t rat i on o f t h e lif espan of the pre fa b hom e s c o m p are d w ith th e v ariou s c ou ncil prop e rtie s tha t m y f am i l y hav e o c c u pied ov er t h e la st 100 ye a rs

Actual lifespan of the prefabs

Lifespan of my great grandparents council house in Edgware Years that my great-great-aunt occupied the council house Years that my great-great-grandparents occupied the council house

2030

2020

2010

2000

1990

1980

1970

1960

1950

1940

1930

68 B arbara C h abrow e, ‘O n the S ig nifica nce of

Temp o rary A rc h itec tu re’ T h e

B urli ngto n Magaz i ne, Vol. 116.85 6 (1974),

pg. 3 85-3 9 1 < h t t ps:/ / www-jstor-org .uow. idm.o c lc .org/ st able/ 87773 2?sid=primo&se q=1#m e ta da ta _

in f o _t ab_c o n ten ts> [ acce sse d 15 /10/20], pg .

3 85.

69 A lain de B ot t o n , The Ar ch itectu r e of Hap p in es s,

1 st edn (Lo n don : Pen guin, 2007) pg . 107

Ho w s ho ul d E x c al i b ur b e p r e s e r v e d ?

52

How should Excalibur be preserved?

Adaptability and ownership The Oxfo r d En gl ish D ic tion ar y s tate s th at own e r sh ip c an b e de fine d as ‘ th e fac t or state of be ing o r fe e l in g r e spon sib l e for s o l ving a pr ob l e m, ad d r e ssin g an is s ue.’ 7 1

‘ Th e pr ovi s i o n a nd m a n agem en t o f soc ial h o u s i ng fo r t h o s e who ar e u n ab l e to a c c ess t h e h o u s i ng m ar k et i s essen ti al to t h e mai nt e na nce o f t h e fab r i c o f soc iety.’ 70

The is s ue of own e r sh ip is o fte n co m pl e x with in soc ial ho us ing e state s as it is th e l o cal co un c il s th at own th e pr o pe r tie s n ot th e r e sid e n ts.

Ho we ve r, a we l l d e sig n e d ho us ing e state wil l in spir e a s e ns e of own e r sh ip an d be l o ngin g in its te n an ts and the r e for e r e l ie v e l oc al autho r it ie s of th e sol e r e s po ns i b il ity for th e u pk e e p o f the e s tate . Th is is an impo r tan t c ompon e n t of soc ial ho us ing b e c au se with ou t r e s po ns i b il ity an d own e r sh ip the e s tat e c an q u ic k l y fal l in to dis r e pai r as h as b e e n th e fate o f many h igh d e n sity postwar de vel opme n ts, su c h as the Ayl e sb u r y Estate in S ou th Lo ndo n.

In th e 19 72 d oc u me n ta ry ‘ def en s i b l e s p a c e’ O sc ar N e wman ad d r e sse d th e la ck of d e fe n sib l e spac e in t he A y l e sb u r y Estate ‘ b y w hi c h he me an t a se n se of in d iv i d ua l own e r sh ip an d r e spon s i b i li t y ov e r a c l e ar l y d e fin e d te r r itor y .’ 7 2 H e su g ge s t ed th at th e ‘ r e sid e n ts l ac k ed a se n se of se l f- id e n tity , a n d o f r e spon sib il ity to oth e rs ’ 7 3 d ue to poor l y d e sign e d b oun d a ri es an d th is r e su l te d in th e es t a t e b e c omin g an u n safe a n d u n d e sir ab l e pl ac e to li v e w i t h a h ig h c r ime r ate an d f req uen t v an d al ism.

Th e l on g su r v iv al of E xca li b ur c an b e gr e atl y attr ib ut ed t o th e str on g se n se of ow n ers hi p th at th e r e sid e n ts h ad f o r th e ir h ome s. Th e y se t up th e ir own c o- op, e n tit led th e ‘ Ex c al ib u r Te n an t s Man ag e me n t Co- ope r a t i v e L TD ’ an d sin c e 6 th Ma y 1 991 th e y h ad tak e n r e spon s i b i li t y for ‘ r e n t c ol l e c tion , r e p a i rs an d main te n an c e , an d em p t y pr ope r tie s.’ 7 4 Th e r e sid e n ts we r e al s o imme n se l y pr ou d of thei r h ome s an d ofte n r e fe rred t o th e m as ‘ l ittl e c astl e s. ’ 7 5 T hi s pr id e is h istor ic , in st i lled i n th e fir st r e sid e n ts of E xc a li b ur wh e n th e y we r e g ifte d t he we l l - d e sign e d h ome s a n d h as l aste d th e y e ar s as t hey watc h e d oth e r h ou sin g es t a t es fail .

Fi g u r e 69 T h e Ay l e s bu ry Est ate P h o t o g raph ed by Ric h ard B axt er, 2016 7 0 7 1 7 2 7 3 74

75

Pau l Reev es, I ntro duc tion to s ocial h ou s in g, 2nd e dn (London: R outle d g e, 20 0 6), pg . 1 .

Oxf o rd En glish Dic t iona ry, Oxfor d En gl is h Diction ar y, n/a <https://ww w. o ed . c o m/vi ew E nt r y/1 3 551 8 ? r ed i r ec t ed Fr o m= o w ner s hi p # ei d > [A c c es s ed 24 /1 1 /20 ].

B en C ampkin , Rem aki ng L on d on : Decl in e an d Regen er ation in Ur ban Cu lt ur e, 1 s t ed n (L o nd o n: I . B.Taur i s & Co mpany L t d , 20 1 3 ), p g . 8 7. ibid, pg.87.

M ay o r an d C abin et, E xcal ibu r Bu n gal ow Es tate – Decen t Homes th r ou gh st o ck t r a n sfe r (L o nd o n, 20 0 7 ) p g . 3 <ht t p s : //c o unc i l meet i ng s . l ew i s ham. g o v. uk/Dat a/May or % 2 0 a n d % 2 0 C abin et / 2007041 8/ A genda /fa b e fa 71187c4d63898f2a 0a 5 ba d527dI tem6E x c al i b ur 1 8 A p r i l 20 0 7. P DF> [ac c es s ed 26/1 1 /20 ].

Elisab et h B lan c h et an d S onia Zhuravlyova , Pre fa bs: A so cia l a nd a r c hi t ec t ural hi s t o r y, 1 s t ed n, (S w i nd o n, H i s t o r i c E ng l and , 20 1 8 ), pg . 4 2.

Ho w s ho ul d E x c al i b ur b e p r e s e r v e d ?

53

‘For hom e s t o m a ke u s fe el c en tr ed they n eed t o be m o re t h a n ju st f u n c ti o n al .

Th ey sh o u ld re p re s e nt o u r u n i q u e per sonal i t i e s , p a s s i o ns , i n ter ests an d j our neys t h ro ug h li fe . . . Whi l e ex p r essi n g who w e a re , t h e y s h o uld – at the sam e ti me – r ei nfo rce w h o w e ar e.’ 76

Key L i st ed pref abs R edevelopmen t red lin e b ounda ry

The s e ns e of own e r sh ip al s o s te m s fr om h av in g a ‘pl o t o f y ou r own .’ A star k co ntras t fr om th e Ay l e sb u r y Es tate , th e b ou n d ar ie s of th e Excal ibur Estate we r e c l e ar as e ach re sid e n t h ad th e ir o wn s tr u c tu r e an d l an d to maintain . Bor n ou t of war time fr ugal ity, th e mak e - d o- an d me nd attitu d e was k e pt al iv e in Excal ibur an d r e sid e n ts wor k e d to ge the r to fix th in gs.

Right fr om th e b e gin n in g, th e r e s ide nts fr e e l y p e r son al ise d and adapte d th e ir d we l l in gs to s uit th e ir l ife sty l e an d p e r s o nal taste wh ic h is a fac tor that has al so c on tr ib u te d to th e l o nge vity of th e str u c tu r e s. It has b e e n d o c u me n te d b y man y ps ycho l ogists an d ar c h ite c ts 7 7 al ike , th at c ommu n itie s th at ar e give n th e fr e e d om to p e r s o nalise an d ad apt th e ir ho me s ar e mor e r e sil ie n t as the y fe e l a str on g se n se of b e l o ngin g an d own e r sh ip o f the ir pr op e r ty. Th is is a rar e qual ity in Br itish so c ial ho us ing sc h e me s as th e y ar e o fte n high d e n sity rath e r th an is o l ate d d we l l in g s an d a ‘on e s ize fits al l ’ mo d e l is ofte n appl ie d.

Fi gure 7 0 ( to p) Pla n of the r ed evel o p ment s ho w i ng t hat t he l i s t ed pre fa b home s s i t o ut s i d e t he r ed l i ne b o und ar y

O n e su c c e ssfu l e x amp le f ro m Ch il e is th e Q u in ta Mo n ro y d e v e l opme n t b y EL EM E N TA L (figu r e s 71 an d 72 ). He re t he ar c h ite c t b u il t ‘ h al f a ho us e’ for e ac h r e sid e n t al l o w i n g f o r spac e for th e h ou se to ev o lv e with its o c c u pan ts as t hei r famil ie s gr e w or th e ir ca reers c h an g e d . 7 8 Ev e n th ou g h t hi s d e v e l opme n t stil l r e q ui res a l ot of l an d th e d e n si t y w a s impr ov e d b y b u il d in g ro w s o f two stor e y h ou se s. Thi s m o d el, if appl ie d to Ex c al ib ur, co uld al l ow th e r e sid e n ts to k eep th e ad aptab l e n atu r e o f t hei r h ou sin g as we l l as th e i r o w n pl ots an d l ittl e str e e ts w hi ls t in c r e asin g th e d e n sity a n d mo d e r n ity of th e h ou s i n g .

In a time wh e r e we u n d ers t a n d th at ad aptab il ity an d p e r son al isation is a st ro n g mo d e l for su c c e ssfu l a n d lo n g stan d in g ar c h ite c tu r e , d o es i t mak e se n se to l ist e x a m p les of ou td ate d h ou sin g d es i g n ? I b e l ie v e th at th e d e c is i o n t o li s t th e 6 ‘ l e ast- al te r e d ’ p ro p ert i es in th e Ex c al ib u r Estat e b o t h misse s th e fu n d ame n t a l tr iu mph s of th e e state a n d h as fail e d to e n c ou rag e a r e d e v e l opme n t c e l e b ra t es an d r e fe r e n c e s its h is t o ry. A s sho wn i n t he pla n (f ig u r e 7 0 ) t he re d e ve lo pm en t re d li ne b o und a ry i g n or es t he li st e d pro p e rt i e s a n d t he re f o re t he li st i ng s eem s t o have hi nd e re d ra t h er th a n e nco ura ge d t he i r re u s e.

Fi gure s 7 1 & 72 (c e ntre & b o tto m ) The Quinta Mo nr o y d evel o pment i n Chi l e b ef o r e and a fte r p e rsona l i s at i o n b y t enant s

7 6 Pau l Keedw ell, Headspace: T h e Ps ych ol og y of City L ivin g, 1st e dn, (Lon d o n: A ur um P r es s , 20 1 7 ), p g 50 .

7 7 No te: Examples in c lu de Dr Pa ul Ke e dwe ll (He a dspa ce : The Psycho l o g y o f Ci t y L i vi ng ) a c o ns ul t ant p s yc hi at r i s t w ho w r o t e ex t ens i vel y ab o ut t he p s yc o l o g ic a l im p a c t s

o f p erson alisat io n an d a da pa bility of housing a nd Ja ne Ja cobs (a j o ur nal i s t and aut ho r ) w ho w r o t e ab o ut t he ur b an p l anni ng and t he ef f ec t s o f hi g h r i s e e s t a t e s on t h e

c o mmu n ities, o r lac k of, within the m .

7 8 ELEMENTA L, ‘Qu in ta Monroy / ELEMENTAL’, Ar ch d ail y, 31st De ce m b er 20 0 8 <ht t ps : //w w w. ar c hd ai l y. c o m/1 0 7 7 5/q ui nt a-mo nr o y-el ement al ? ad _med i um= g a l l e r y > [ a c c e s s e d 05/ 01 / 21 ]

54

Co nc l us i o n 55

Conclusion The last chapter of Excalibur (2020) “ I t ’s l ike t h e co m m uni t y sp i r i t that’s her e ha s be e n t a ke n a w ay an d I feel l i k e we ar e in a pri s o n a t t h e m o m en t. T he way t h ey a re bui ld i ng t h ese ho ar d i n gs al l r ound t h e bui ld i ng .” 79 Jerry Hy ne s

7 9

Elisab eth B lan c h et, Pal aces for th e p eop l e, o n lin e video rec o rding , YouTub e , 12th Aug ust 201 4 <h t t ps:/ / w w w.y o utub e .com/ w atc h ?v=FA kS0IiI3 n s> [a cce sse d 05 /11/20].

Fi g u r e 7 3 (previou s pa g e) P re f ab d e mo litio n P h o t o g raph ed by Elisab et h B lanche t, 2014 Fi g u r e 74 (left) & 75 ( rig h t) I m ag e s how in g t h e t all w o o den hoa rding tha t s u rro u n d s mu c h of th e sit e P h o t o g raph ed by Elisab et h B lanche t, 2013

Excal ibur is a l iv e c ase stu d y.

The l as t c h apte r of th e b e l ov e d ho us ing e state is u n fol d in g as I wr ite a n d at th is mome n t, it s its in a state of u n c e r tain ty.

Like man y oth e r c on str u c tion pr o je cts ac r oss th e UK, th e r e de ve l opme n t of Ex c al ib u r is e xp e r ie n c in g l on g d e l ay s.

D e mo l ition of th e in itial ph ase o f the r ed e v e l opme n t b e g an in 20 14 an d th e n e wl y b u il t bl o ck s th at n ow o c c u py th e no r th o f th e site ar e al most co mpl e te . Th e y stan d tal l ab ov e the r e main in g pr e fab s, sh in y but e mpty of l ife u n til th e ir co mpl e tion .

The r e m ain in g pr e fab s, ph ase 2 o f the site , l ie in wait for the ir l o n g- ov e r d u e d e mol ition .

Mo s t hav e b e e n e mpty for man y ye ar s , du e to th e e ffic ie n t de cantin g pr o c e ss wh ic h b e g an imme diate l y afte r th e r e sid e n ts vo te d fo r r e g e n e ration in the 20 10 b al l ot (pr e v iou sl y dis cus s ed on page 4 5). Th e vacant home s h av e b e e n b o ar de d u p an d l e ft to d e c ay at the hands of v an d al s, th ie v e s and the e l e me n ts.

A sc atte r in g of r e main i n g r e sid e n ts stil l o c c u py t hei r h ome s. Th e Ex c al ib u r t hey on c e k n e w h as l on g go n e a n d th e y n ow r e sid e in a run d own an d u n safe e sta t e. Hug e ar e as of th e site ar e b lo c k ed b y h oar d in g, an d th e c om m un i t y to wh ic h th e y on c e b elo n g ed h as l on g d issipate d .

A l th ou g h u n se ttl in g fo r t he r e main in g r e sid e n ts, t he s t a t e of u n c e r tain ty me an s t ha t th e r e is stil l time to p res erv e th e Ex c al ib u r Estate . L o ck d o w n an d th e c or on av ir u s p a n d em i c h as g ifte d u s th e time t o ref lec t on th e imp or tan c e of b ei n g par t of a str on g c omm un i t y a n d h av in g ou td o or spac e t o g ro w fo o d in a time of sh or t a g e o r t o tak e a mome n t of min d f uln es s ou tsid e th e c on fin e s o f o ur h ome s. Th e l ast c h apt er o f t hi s d isse r tation h op e s to p ro v i d e fo o d for th ou gh t for L ew i s ha m Cou n c il an d e mp owe rm en t t o th e r e sid e n ts of Ex c ali b ur t o c on tin u e th e ir fig h t fo r a m o re d ig n ifie d u pg rad e to t hei r c h e r ish e d e state .

Co nc l us i o n 56

Fi gure 7 6 Jim Bla cke nde r outside his pre fa b hom e Photog ra phe d by Elisa b e th Bla nche t, 2 0 0 9

“

T here’s nothi ng wr o n g w i t h h o us e s a n d t h e re’s n o t h i n g

wrong wi th p refabs. Th e di f fe re n c e w i t h a pre fa b i s y o u’ v e got a two b edroom , de t a c h e d pro pe rt y a n d un le s s y o u’ v e got lots of m oney, you’ re n e v e r e v e r g o i n g t o g e t t h a t b a c k agai n. You know, i t w a s s o m e t h i n g w e w e re fo rt un a t e enough to h ave as te n a n t s , a s c o un c i l t e n a n t s a n d o n c e th ey are go n e , i t ’s g o n e fo re v e r.

”

80

Jim B lackender

80 Elisa b e th Bla nche t, Pal aces fo r t he pe o ple, o nl i ne vi d eo r ec o r d i ng , Yo uTub e, 1 2t h A ug us t 20 1 4 <https://www.youtub e .com /wa tch? v=FAkS 0 I i I 3 ns > [ac c es s ed 0 5/1 1 /20 ].

Co nc l us i o n 57

Conclusion The end of a building ’s life We f i n d i t h a rd t o acce pt th e e n d of a bu i ldi ngs l ife , e s p e c i ally one t h a t we have c a l led h om e for m any ye ar s .

We a re nost a lgi c by natur e a nd g i v en t h e p sycho l o gical c o n nect i ons w e h ave with o ur h o mes, i t i s h a rdly s ur pr is ing th a t t h e w ord dem o l itio n is st eep ed i n nega tive c o n no ta t i ons a s i t ‘annihil ate s a rc h i tect u ra l f a nt as ie s o f p erm a nence’ 8 1 a nd fo r ce s us to f o c u s on t h e u nco mfo r tabl e r e a li ty t h a t everyt hing has a f i n i te li fesp a n.

A s d o c u m ent ed by C air ns and Ja c o b s (2014) ‘bu i ldings ar e ino r g a ni c a nd i na n imate .

Yet t h e y a re rou t i n e l y s aid to f u n ct i on li ke li ving o rg a n i s m s.’ 8 2 We re fe r to th e b u i ldi ng envelo p e as the ‘s k i n’ a nd descri b e s pace s a s ‘c e l lu la r’ or ‘flowing ’ a nd t h e ref ore t o p r o p o s e d e mo l i t i on i s t o sente nce a p i ec e of a rch i t ectur e to d e a t h . 83 Yet d em oli t i on, ‘ w hil e the e n d o f one a rch i t ec tural s to r y, is u su a lly t he ne ce s s ar y prec u rsor t o t h e b e ginning o f a no th e r.’ 8 4 I t do es n o t have to o bli tera t e a ll t i es with the pas t a nd t h e re a re m a ny de gr e e s o f d e moli t i on, ra nging fr o m c o mp l et e rem ova l to a car e ful a nd d eli ca t e di sa sse mbl e s o th a t p art s of t h e exis ting can b e r e u sed.

8 1 8 2 8 3 8 4

Give n the e x tr e me n atu r e of the cur r e n t h ou sin g c r isis, we mus t ac c e pt d e mol ition as a ne cessar y c ou r se of actio n, wh e n ar c h ite c tu r e is no l o nger fit for pu r p ose , in o r de r to mak e way for mu c h ne e de d home s. For th is an d the o ther r e ason s ou tl in e d in this d isse r tation , I b e l ie v e that l is tin g is n ot th e an swe r whe n co n sid e r in g h ow b e st to pr e s e r ve a h ou sin g e state .

The pr e fab h ome s h av e h ad an incr e d ib l y imp or tan t an d s ucce s s fu l l ife span b u t I b e l ie ve th at it is time for th e m to b e de mol ish e d in or d e r for ne w, e qu al l y we l l - d e sig n e d ho me s to b e b u il t in th e ir pl ace .

I do no t, h owe v e r, b e l ie v e that this sh ou l d b e a c ompl e te r e mo val an d r e d e sig n as pr o p o s e d b y th e Hu n te r s r e de ve l opme n t. Mu c h of th e s ucce s s fu l e l e me n ts of th e Excal ibur Estate r e su l t fr om its e s tate plan n in g an d th e r e for e I b e l ie ve th at ad aptiv e r e u se of the cur r e n t mo d e l is th e b e st s o l utio n . Th e l ittl e str e e ts, individual pl ots an d g ar d e n s s ho ul d re main an d n e w fl e x ib l e and adaptab l e h ou sin g sh ou l d b e buil t wh e r e th e pr e fab s on c e s to o d.

St eph en C airn s an d Ja ne M. Ja cobs, Bu il d in gs mu s t d ie, 1st e dn (Ca n ad a: MI T P r es s , 20 1 4 ) pg . 1 96. ibid, pg. 1 1 . ibid, pg. 1 1 -1 3 . ibid, pg. 1 9 6 .

Co nc l us i o n 58

Conclusion Lessons learnt T h ere a re m a ny less o ns to b e lea r nt from E xcal ibur i n o r d e r t o b et t er de al with t h e f u t u re reju venatio n o f s o c i a l h ou si ng est ate s . The l o w d e n si t y a nd u nique a r c h i t ect u re of E x c al ibur make i t a v e r y com p lex cas e ho we ve r i t ex em p li f i es t h e attitude s o f th e prof essi on t o war ds b u i ld i n g conserva tio n and the fa i lu r e s of t h e p ro ce s s o f e s tate r eg enera t i on.

A k ey lesson t o b e l e ar nt fr o m E x c a l i b u r i s t h a t A r chite cts , D ev elop ers a nd lo c al a u t h o ri t i es m u st ende avo ur to u n d erst a nd t h e t riumphs o f a n est a t e, even i f the s e e xte nd fu r th e r t h a n i t s buil t fo r m, a n d k eep t h e com munity at the cent re of a redevel o pme nt. To o o f ten est a t es a re t o r n do wn b ec a u s e t h ei r a rch ite ctur e is w o rn a nd ba dly m aintaine d a n d c o m m u ni t i es ar e r ipp e d a pa r t i n t h e p ro ces s .

It has no w b e e n 10 y e ar s sin c e pl anning p e r mission was grante d for th e r e d e v e l opme n t o f Excal ib u r an d v e r y l ittl e has b e e n ac h ie v e d . A fte r mu c h cr iticis m of th e l ow d e n sity of the e s tat e , th e site h as h ou se d o nl y a ha n d fu l of r e main in g r e s ide nts for th e b e st par t o f a de ca d e . D e c ision s we r e made s o q u ic k l y to r e l o c ate the r e s id e n ts th at e v e n if th e inte ntion s we r e to r e tu r n the m to th e n e w e state on co mpl e tion , th e d e l ay s h av e made it v e r y u n l ik e l y th at th is wil l happ e n . Th e ph asin g of the r e de v e l opme n t h as fail e d to pr io r itise th e r e sid e n ts an d has co ntr ib u te d gr e atl y to th e de s tr uction of th e c ommu n ity.

Excal ibur is u n pr e c e d e n te d in the wil l in gn e ss of th e r e sid e n ts to maintain an d c ar e for the ir o w n h ome s an d for th is r e as o n it h as r e main e d in go o d co ndition for 6 0 y e ar s l on ge r than antic ipate d . A h ou sin g mo de l w h e r e th e r e sid e n ts fe e l a s e n se of own e r sh ip to maintain th e ir own h ome s, the r e fo re r e l ie v in g th e c ou n c il o f this b u r d e n , sh ou l d b e ce l e brate d an d pr ote c te d an d ne wl y bu il t e state s ac r oss th e co untr y sh ou l d l e ar n fr om th is s us tainab l e ty p ol og y.

The l ack of u n d e r stan d in g

by Le wish am Cou n c il of th e tr iumphs of Ex c al ib u r is de mo ns t rate d b y th e fac t that the c ommu n ity was n ot ade quate l y r e c ogn ise d or pr o te cted d u r in g th e e state r e ge ne ration .

W h e n q u ote d in n e ws a rt i c les , th r ou gh ou t th e c ou r se o f t he c on se r v ation b attl e , m em b ers of th e c ou n c il on l y sp o k e o f t he in ad e q u ac y of th e r u n d o w n ar c h ite c tu r e . 8 5 Th e y fa i led to u n d e r stan d th e r e s i d en t s l ov e for th e ir h ome s a n d , in ste ad of tr y in g , th e y exert ed th e ir p owe r with c om p uls o ry pu r c h ase or d e r s an d t he r e fu sal of fu r th e r e sta t e main te n an c e .

Th e stor y of Ex c al ib u r ha s e x e mpl ifie d th e v e r y b es t a n d wor st tr e atme n t of the w o rk i n g c l ass b y l o c al au th or it i es . I t h as sh own th e imp or t a n c e o f c e l e b ratin g so c ial h ous i n g a n d h ow a we l l d e sig n e d e s t a t e c a n n u r tu r e a th r iv in g c om m un i t y th at wil l in tu r n c ar e f o r i t s ar c h ite c tu r e . Th e d iff eren ces b e twe e n th e pu b l ic p e rc ep t i o n of so c ial h ou sin g in th e 1 94 0s c ompar e d with th e pres en t d ay ar e v ast an d th e r e is a lo t t o b e l e ar n t fr om Ex c al ib u r a n d t he h u g e b e n e fits of so c ia l ho us i n g b e in g se e n as a pr ofit a b le in v e stme n t b y p ol itic i a n s a n d ar c h ite c ts al ik e .

Th e r e sid e n ts of Ex c a li b ur f elt l u c k y fr om th e d ay they a rri v ed on th e e state an d th at f eeli n g l on g ou tl iv e d its ar c hi t ec t ure.

Th is h as b e e n rar e l y a chi ev ed in th e d e sig n of mo d ern s o c i a l h ou sin g an d for th is r ea s o n , i t is a gr e at sh ame th at t he es t a t e is b e in g wip e d c l e an o f i t s h istor y rath e r th an r e t a i n i n g its su c c e sse s for th e A rc hi t ec t s of fu tu r e h ou sin g e sta t es t o l e ar n fr om.

Fi g u r e 7 7 Q u e e n Mo t h er v isit in g t h e Exc al ibur Esta te pre fa bs, 1980s

85

A rc h it ec ts f or So c ial Housing , Archite cts for S o cia l Housing , 2017 <ht t ps : //ar c hi t ec t s f o r s o c i al ho us i ng . c o . uk/20 1 7 /0 6/26/es t at es -o f -memo r y-t he-ex c al i b u r - e s t a t e / > [ac c essed 06 / 01 / 21 ]

Co nc l us i o n 59

I n t h i s disse rtation, I have d em on strate d the l imit a t ions of t h e listin g sy stem a nd I b e l i e v e that it is not t he a ns w e r whe n it comes t o p r e se rv in g p o st -w a r h ou s i n g e state s. I nst ea d , I c on c l ude that the sol ut ion li e s w i thin the e v ol ut ion of t h e p r o fe ssio n’s at t it ud e t o b u i l d i n g co n se r v a t ion so t h at t he adap tiv e reuse of t h e e x istin g success es of a b u i l d i n g ar e e xp lored l ong b e f or e de mo litio n.

I b el ieve t ha t t he b e st way t o prot ect a nd re juve na t e t he E x cali b ur Est a t e wo uld have b een t o c o nse rve i t s t hriving co m m uni t y, a s wel l a s the li t t le st re e t s a nd ind ivid u a l ga rd e ns t ha t m a d e t he es t a t e so succe ssf ul. Ne w a d a pt a b le a rc hi t e c t ure c o uld t hen have b e e n b ui lt a ro und t hes e re si li e nt f o und a t i o ns a l l owing f o r t he e st a t e t o b e mo d erni se d a nd e xpa nd e d wit hout lo si ng i t s i d e nt i t y a nd conne c t i o n wi t h t he pa st .

T h e l i stin g sy ste m, w hil st ve r y s ucce ssful when p r ot ectin g in div id ua l works of ar c hite ctur e , is t o o r es t r i ctiv e an d do es not a l l ow fo r the p r o tect ion of t h e ur ban p lanning or s o c i al succe sse s o f a n es t a t e.

A s p r e v io usly stat ed , t he s o c i al an d histo ric va l u e of Ex c alibur is far grea t er t h an i t s ar chite ctura l merit a nd t he re fo re the prefa b h om es the mse lv e s a re b es t p r es erv e d the fo r m of t h e P r ef ab Muse um arch ive a nd t h e v ar io us ho use museums a c r os s the U K. T hey h ave a l r eady in sp ire d a cont inu ed d es i g n e v o lutio n a nd mo d ern p r ef abricatio n te ch niq u es of f e r archite ctura l reference t o t h e p ast an d e nsu re t h at we do n o t fo rget t h e t r i u m p hs o f the p ost -w a r b u n g alo ws.

Lo ckd own a nd t he coronav i rus pa nd e m i c ha s ma d e u s re t hi nk wha t we wa nt from o ur ho m e s a nd o ur commu ni t y a nd t he pre f a b es t a t e of Exca li b ur p o sse sse s mu ch of wha t we have recognise d t o b e i m p o rt a nt .

I h op e t ha t t hi s d i sse rt a t i o n, a l ong w i t h t he gre a t wo rk of t he R e t ro Fi rst c a m pa i gn, ca n ins pi re cha nge wi t hi n t he prof e ssi o n’s a t t i t ud e t o a d a pti ve re use a nd ch a mpio n t he pro t e ct i o n o f su cces sf ul co m m uni t i e s o ve r unsu cce ssf ul a rchi t e c t ure .

Fi gu r e 7 5 O ne o f t he E x c al i bu r p r e f a b h om e s P ho t o g rap hed b y E l i s ab et h B l a n c h e t , 2 0 0 2

60

A pp end i x 61

Appendix Interview with Elisabeth Blanchet Interview conducted via zo om.

Wednesday 7th Octob er 2020.

Sophie: “ What drew you to Excalibur in the first place? And why did you keep coming back?”

Elisab eth: “ Well I have done a l ot of work with Irish travellers, so caravan sites. I’m interested as well in communities, basically in p eople who don’t live like we do, like settled and stuff.

So, I had talked to a friend ab out my work with g ypsies and travellers in, mayb e 2001/2002 and she said we ll, down in Peckham there are still some, sort of, mobile homes but I don’t know what they are so you should come and have a lo ok. So I w ent to Peckham and then (smiles). I went and I kno cked on the do or b ecause I said to my friend it’s not a mobile home at all its a prefab b ecause we have some in, in Normandy where I am from to o. So it’s like a p ostwar thing.

So I kno cked on the do or b ecause I was very surprised that in London you still had prefabs, in 2001/2002.

So I, kno cked on the do or and the old man was very, very nice and (smiles) he heard my very strong accent and he said “ you’re French?” And I said “ yes I am”, and errr, “ where are you from?” And I said “I am from Normandy ” and he started to say that he had done D day so he showed me his medals and we sat for a long chat and he started- he was very knowledgeable ab out the history of p ostwar prefabs and he told me “ you know I’m not the only one. There are plenty more, in Peckham there were still a few actually at the time mayb e 40, some-40 something.

But there is a large estate of them, err mayb e like 10/15 minutes away by car so it’s called Catford. And erm it’s called the Excalibur Estate.”

So I went down there, and well, when first, when I came out of that house of that prefab I thought oh, it is incredible that there are p eople that are still living in prefabs and that they are so attached to their prefab. Like, this, this man’s house was untouched really. It was like b eing back to the 70s.

You know, like, the wallpap er and everything.

So I thought wow and that’s interesting so I understo o d quite quickly that there was like a mission, (laughs) given to me to sort of, photograph l ike systematically, a bit like a train-sp otter, a ll of the prefabs and when I could kno ck on the do or.

Well kno ck on the do or really b ecause I’m not shy b ecause I sp ent a lot of time kno cking on do ors and

p eople saying “ what are you doing ” or most of the time p eople would let me in. Sometimes they would let me take pictures of them. They would let me,take notes and stuff and that’s how I arrived to the Excalibur Estate.

And I found that completely fantastic, that there were still like err. It was like a holiday village b ecause, you know, it’s so like bungalows and the skyline is very (pauses). You, you exp ect to see the sea at the end of it!

And it was like, errr, a place that the Queen mum used to- went to twice I think. Like Elisab eth’s mother. Err she came twice, she liked it there.

That’s her who said it’s like a holiday villa ge here.

Yeah, so there are, there are some archive of that.

So there was, when I started to go there and back in 2002/2003 there was still a sense of community. And that’s what I found really interesting and also I am very interested in the attachment, p eople can have with their home, for their home. And I mean it was ticking all of the b oxes really. (smiles). I thought great now I am just going to, work more on them and if I can like get some publication, get the p eople aware of that particular place.

And there were other, other estates like that in the UK. There were some in erm, in Ipswich, i n... I can’t rememb er exactly now. Birmingham. You you, you had, you had estates like that all around the UK but I was living in London so I fo cused on that one. And then I, p eople started to know me and I started to have also like a, publications in magazines. We did a big one for- I used to work for Time Out so we had a big. (smiles). At the time, you’re to o young but Time Out used to do prop er photo stories, you know like features?”

Sophie: “ Yes!” Elisab eth: “Anyway so, as so on as I could I tried to, to raise the attention to those prefabs which were threatened. Because of course there were p eople who, you know like prop erty develop ers and stuff, you know we were 20 minutes away from L ondon Bridge. Yeah, e voilà.

So that’s how I got into the Excalibur Estate.”

Sophie: “ Why do you think that p eople are so attached to their prefabs? What do you think is so successful ab out the estate that made p eople want to stay ?”

A pp end i x 62

Elisab eth: “Erm, well I think that there was a first wave of p eople who arrived back in 1946, I think the first resident was... One of the first residents was Eddie, who only died in 2015, I think. So Eddie was the third resident, he must have arrived in June 1946. And when the first group of p eople arrived, they were all, they had lost everything, their homes, they were coming back from the, from the war so, err those houses meant a lot to them. Because they were a luxury. Instead of going and live, again with the inlaws in kind of a, you know, attached houses, narrow, dark and sharing toilets outside and stuff. Suddenly they ha d this sort of house, this house which was detached. Surrounded by a garden so they could grown their own vegetable, it was still rationing yeah?”

Sophie: “ Yeah.”

Elisab eth: “And erm, up till 194-54 I think. You have to check but it lasted quite a long time the rationing thing so, p eople were encouraged to grow there own vegetables. And then err, they-they were very(smiles).

They were the opp osite to err, the traditional working class housing. With quite a big kitchen where you could eat at the table - 4 p eople. You had a back do or, you had a do or in the kitchen going straight to the garden. You had fitted cupb oards, you had, some had a fridge. You know some ha d p ermanent- there was p ermanent hot water. Which was not common at all at the time. And also there were se parate toilets. There was a distant, very distant bathro om, b ecause sometimes p eople even (smiles).

They re nted, (laughs) ha I have some stories like that that, p eople rented their baths so p eople could have a bath.” (laughs).

Sophie: (laughs) “Oh wow!”

Elisab eth: “ You’ll have to double check that but I think I’m not making that up. So yes and two b edro oms, living ro om and all this also wrapp ed around windows. You know that corner window which give a lot of light.

And also the way the prefabs were laid out. Trying to enjoy, as much as they could, of the sun.

A small fo otpath b etween the rows of prefab which allowed, you know, kids to play and b eing watched by the neighb our and you could- You know, it was

very thought out, intelligently. So p eople could live together again.

So that’s why p eople loved them and also, it was the spirit of you know the p ost war when you need to rebuild again together. So its like p eople all start from the same level. I think that made the scheme, as a so cial housing scheme, work even b etter. You see, it’s b ecause p eople had to, to really forget, forget what happ ened and just build- start again, so.

And then what is very interesting in the second generation, like err, in the 70s, some p eople had moved but not so many and some new p eople arrived to the prefabs and it kind of... It’s like it kept its DNA of b eing an estate of err... where the sense of community is imp ortant. Even for new generations.

Because I talked to p eople who arrived only in the 70s or even in the 80s but they were saying the same thing. You know, we like the, the way the houses- the design of the house, the sense of community. There were a lot of neighb ours parties, e voilà so.”

Sophie: So even the new residents could recognise that erm, the design of their house and the estate was b etter than elsewhere -another estate that they c ould get?”

Elisab eth: “ Yes. Yes and still and still until recently b ecause they got a bit of make up, you know like (laughs).

They were a bit refurbished, of course b ecause the original windows were- You know, the only negative p oints ab out prefabs is that they were cold in winter.

So you know, sometimes it was frozen inside so b ecause those thin glass. But when they are, you know, refurbished to mo dern standards th ey could last another, I don’t know, 50 years! 100 years! They, they were very, a very go o d piece of design and I think it’s b ecause also erm, during the war they started to think ab out prefabs very early. Erm in 1941/42 and they really, they put all the, you know, effort into making those prefabs really work b ecause they were scared of failing the rehousing scheme after the war so, err yeah.

So I think they put a lot of effort b ecause there was a committee which was the- which was created called the Burt committee. Erm, its Lord Burt wh o was at the head of that committee. And then they to ok some inspiration from the American- they travelled to America and to ok the b est ideas- as the British do, sorry! But you know take the b est from err, and then make their own ha! (laughs) Their own err, “go o d prefabs.” So yeah, they to ok some inspiration and they came back with the sort of ideal blueprint, you know, like plan of size, a decent size. Errr a way

A pp end i x 63

to transp ort the, like the materials as the volume couldn’t b e to o big for, you know, transp ort but they.

They launched a comp etition and, and then they selected eleven typ es, ten typ es of prefabs and then i mp orted the American one. But, all that is, probably b oring for you.” (Laughs) Sophie: “No! Not at all! (Laughs). Erm, it lo oks like, from some of the photos, that it was encouraged for the residents to p ersonalise or make their house feel l ike home for them, so some of them had decorated or new do ors or yeah, different panels. Is that something that you noticed or do you think that that made them stay ?”

Elisab eth: “ Yes b ecause err, when you lo ok at pictures from the 50s and you see there is no trees and all the prefabs l o ok the same and they, they have the same fence, l ike a wire - I don’t know how you call it English but anyway. They all lo ok really the same. And then with decades ermm, some have grown with, sorry, conservatories or, you know there are extensions, they, they started to do some Tudor -mo ck Tudor things.”

Sophie: “ Yes, exactly!”

Elisab eth: “Errr, paint all sorts of things and so yeah, it’s normal, you know, you want to make your ro om your ro om. And everyb o dy ’s different tastes yes. And you could see how p eople who had brought their prefabs, b ecause ab out 20 p er cent of the p eople on the estate had brought their prefabs with the right to buy thing. So, those, those brought prefabs were even more, how do you say like, lo oked after and really nice. There were a lot of flowers and double glazing and stuff yeah.

Well, not to my p ersonal taste sometimes, but it do esn’t matter. Anyone do es what they want with, with these sorts of things, e voilà so.”

Sophie: “Erm, and you’ ve do cumented a lot of the campaign for the estate to b e kept and listed.”

Elisab eth: “ Yes.” Sophie: “Erm, did you attend any meetings with the Twentieth Century So ciety or Memb ers of Parliament or Historic England to help with the listing pro cess?”

Elisab eth: “ Yes. Well the p olitics of it is complicated. Because obviously Lewisham Counci right from the b eginning said they want, right, they always wanted to get rid of the estate.”

Sophie: “Ok.” Elisab eth: “ You know, like, b ecause they wanted to regenerate, regeneration that’s what it was called. And instead of having 186 prefabs, errr have like 300 homes and almost triple theWhich, you know, you know, big cities, its understandable somehow, b ecause there is a lack of housing. But what was really horrible was the way that they were treating p eople. And yes I went to a, to a few meetings but I really, I saw with the- Once I went, I think it was with the mayor, Steve Bullo ck, or something like that, the mayor of Lewisham. But you could really see that you were, you were not on the same level of communication and like, it’s a meeting which do esn’t mean anything b ecause they have got their ideas already. And (shrugs).

And the 20th Century So ciety, no I never had any, any meeting ab out prefabs with them. But English Heritage, it was still called English Heritage, we had what’s her name? Elaine something, she’s in one of the film, you can see her name. She, we had her to come to the estate, for, when we did a small do cumentary. To talk ab out the listing pro cess and why they chose to list 6 prefabs instead of doing a conservation area. Because a conservation area, it has to b e the err lo cal authorities to ask and of course the lo cal authorities don’t want a conservation area. So English Heritage could only list a few of them, but not even a cluster. That would have b een mayb e more interesting as a, a listing. You know the hard coreI don’t know if you, if you go to the estate. There are still a few residents where Christine and her cat, Christine Gregory, in that part of the estate there is still a hard core, a hard core, yeah (laughs). A cluster of hard core residents, but you could go and see Christine Gregory and say you come from Elisab eth.”

Sophie: “Oh ok! Great!”

Elisab eth: “ Yes! And err, not next do or but the do or after there is an old lady called Margaret. I don’t know if she is still alive but the b est way is to ask Christine.”

A pp end i x 64

Sophie: “Do you know which numb er she lives at?”

Elisab eth: “Erm (pause). She’s at the corner, I can erm. I can erm, se arch for it errr, and send it to you - the address. The exact address, yes, I should b e able to, to sp ot it on go ogle street view or- but it’s b etter if you go and show your face directly instead of calling or anything. Yes, so they are not- You know, they have b een through a lot of err bullshit.”

Sophie: “ Yeah.”

Elisab eth: “So English Heritage she came- Historic England she came and she saidBut they don’t seem to b e very p owerful, so the only way I, I found to really attract attention is not through p olitics but it is through art.

Because art gives you much more freedom for a lot of things. I started to err- I had an exhibition at a gallery called PhotoFusion in Brixton, in 2013. And, it’s like, you know, photographers bla bla bla so a certain kind of p eople. Not the p eople who live in the prefabs.

People who live in the prefabs are not going to go through the do or of a gallery so I thought it would b e interesting to organise some field trips and err, like take- I’ m happy to take p eople, who ever they are, to the Excalibur Estate and just walk around. And show them what is a prefab. And then there was one of the residents who was very nice, called Jerry, who was ok to op en his do or and show his prefab (smiles).

So it was very successful b ecause I still had my friends at TimeOut of course so they, they advertised it and errr. And it b ecame a success. We had ITV, or whatever, doing some features and stuff. And then I thought- and then p eople wanted more! It was like, we were, there tours where there were like 50/60 p eople! It was imp ossible to err- p eople couldn’t listen to, you know, there were to o many p eople! So we thought, well we started to do it every, almost every Saturday morning.

And then I thought its a lot for Jerry to take all of those p eople so I thought if we got an empty prefab we could get all of those p eople to have a cup of tea there and organise something.

And then yes we got that! At the time it was Howard, Howard Davis who w as the manager of the estate he’s not there anymore. And Howard said yeah there is an empty prefab, we can discuss and then we

started to do that.

And then I thought why not do a p op up museum and got another grant from the Arts Council - b ecause I had a first grant from the Arts Council to do the exhibition at PhotoFusion. So I got a £10,000 grant to do a one month museum and then the idea was not only show the work of Elisab eth Blanchet - its not all ab out me ha! (laughs) The idea was more to show other artists, that’s how I sold the idea. Like invite other artists who have worked on prefabs or on so cial housing or p ost war architecture, all to do with the working class as well, housing and stuff. So it was 9 p eople who came I think there were drawings and films, there were other photographers. We invited p eople to come and give talks as well like Julian, another guy from English Heritage, Julian Holden I think, I can’t rememb er. So there were quite a lot fo p eople who came and we did parties b ecause I love parties so it had to b e parties haha! (laughs) And the thing which was go o d is, the thing that was most imp ortant to me was that it b ecame a sort of lo cal coffee place where everything was free. People would sometimes give money in a b ox if they wanted to help us but otherwise there was always coffee, tea, biscuits, cakes for free. We did a VE day party and we had guys from Liverp o ol who came. That was very funny. There were p eople from all over the UK who came and actually from all over the world b ecause there were p eople who had moved to Australia.

So it was a big success and a go o d way to attract a lot of attention, much more than trying to the usual p etition campaign which at the end p eople are tired of that so through art I found this and it was successful but after one month there was no more funding and the p eople said you cant stop. People were starting to email us b ecause they didn’t have time to come or wanted to come back. So we decided with a few of the volunteers to keep it op en on a voluntary basis until we could find some money b ecause Lewisham said we could have it for 3 years or something. So after 7 months it got burnt, it was arson. It was closed, the key, it was really well done.

It hadn’t burnt so that it was dangerous for the p eople, it was burnt from the inside and everything was completely ruined. So I thought well it’s gone to o far.

We to ok a break to think ab out something else. So with another lady. called Jane, we decided to ask for money from the Heritage Lottery Fund to do a moving museum. To basically have like a small exhibition you could display easily in suitcase and then come and adapt to the place. We go to Portsmouth and

A pp end i x 65

take the exhibition but also do something with the guys who are lo cal history groups most of the time or museums- like we went to Wales to the National Museum of Wales b ecause they have a prefab there.

So that’s what I did!”

Sophie: “And now it’s online?”

Elisab eth: “ Yes you can find it there.”

Sophie: “ Yes, its great! Do you know what’s happ ening with the 6 listed prop erties? Do you know what they will b ecome or if they will carry on b eing lived in?”

Elisab eth: “ Well I don’t know b ecause I haven’t b een for 2 years to the Excalibur Estate. Last time I went they were still there but they are only listed grade 2 which means that- I think, you have to check but if there i s to o much damage then I think they can still b e demolished. They are not really fully protected. I think they were still lived in when I went.”

Sophie: “ Yes, I went a few months ago and they were lived i n, some of them, but I can’t find anywhere online i f they will carry on b eing lived in or if they will b e used for something else.”

Elisab eth: ”I think you should get in touch with Historic England. I can try to find a name, she is in the film.

You know there is a church, also the vicar, I think his name is Patrick. I think he has left now. They would mayb e know more ab out what is going on with the l isting.”

Sophie: “ Which film is it that they app ear in?”

Elisab eth: “I think it’s ‘Palaces for the People’ the 42 minute one. Ahh you could go and see the lady we are i nterviewing in the film, I think her name is A ngie and she’s got a big dog. It’s quite scary and she lo oks a bit like. If you went to her and said you are doing research she might b e able to help. I will find her address for you. I don’t think anyone will answer you at Lewisham Council b ecause they are useless.”

Sophie: “I am writing quite a lot ab out the listing and what i s the b est way to preserve this piece of history.

Whether it is listing it and keeping it where it stands or whether it is a museum as you have tried to do. How do you think the b est way to preserve Excalibur?”

Elisab eth: “Oh. (smiles) That is a big question really! I think the b est way to preserve them, is really to err, instead of dividing p eople like the authorities have done is to- Would have b een to, on the contrary to say lo ok you live in houses which are really unique and which are vanishing unfortunately and there are less and less of them. It should have b een kept as an example, of course with p eople still living in them and doing repairs and tried to make p eople understand that those houses, if they want to stay there have, very interesting value- Educate p eople!

Do you see what I mean? So I think it should have b een done the other way round. Because p eople would have started to feel, sort of, pride to live in those houses and then the job is done really. They would take care of them. But it hasn’t b een done that way so now I think it is complicated.

It’s not completely imp ossible for them to keep 20 of them, mayb e around where Christine lives. But mayb e we can’t now. I think it’s complicated b ecause there are a lot of p eople involved; the council, the- but the listing thing has limits, a lot of limits b ecause also it is a class thing within the UK. That is why it worked very well for me. Errr b ecause I am French, I am coming from another country, I’m not lab elled middle class,upp er middle class. I’m a bit like an eccentric! French woman who enjoys these prefabs. So that’s why it gave me a, in a way it was very go o d for me to make things happ en b ecause I was a foreigner to all of the class problems. Of course when Emily comes from English Heritage and she’s very p osh, you can see it on the film. She’s from another world, the way she talks. (laughs) So you don’t want to give lessons to p eople but you want to make them understand that were they live has got an interest but you don’t want to b e patronising. You don’t want to imp ose you r own taste so it’s complicated. But I think it could have b een done like that.

You know, also, it would have- Ideally it would have given as an example of a community that works.

More like a so cial housing scheme that works and works much more than it should have b ecause those prefabs were only meant to last 10-15 years. So on the contrary, it should have b een highlighted and more than that- I can’t find the words but I think that would have b een go o d.

The 6 listed prefabs. I don’t think that the p eople that live in those listed prefabs think much of it b ecause, on the contrary, they have to keep that as it is. They can’t touch that and it’s freezing. So I don’t think that for them it means something.”

A pp end i x 66

Sophie: “ Yes, that’s exactly what I think.”

Elisab eth: “But I think a museum. But you don’t want to say to someone that you live in a museum. You know, you don’t want to say you are in a zo o for hipsters and who ever who wants to come and lo ok at your little prefab so you have to find the right balance.”

Sophie: “Do you know if the whole estate community was moved into the new builds or whether they were broken up?”

Elisab eth: “ Totally broken up! It was a job of fatigue and a job of dividing p eople. Lets say, going do or to do or saying we can offer you this flat in Croydon or whatever, 1 b edro om flat and to another one they would offer something b etter. So it would crea te, like err, jealously and it would create, you know, a lot of anxiety as well b ecause it lasted a long time.

They managed to divide p eople b ecause they were saying why did he get something b etter than me, he must have had some money from the council and me they want to send me to a flat without a lift. I don’t want to live in a blo ck of flats etc. So it was really depressing sometimes to go there and- esp ecially after 2010. Because there was a big campaign l ead by someone, who is very interesting, called Jim Blackender. He was the leader of the campaign to save the estate but he lost and at the end he was very, he got into a very long depression. So it was terrible.

I saw him mayb e a few years afterwards. He had moved to Kent and he was still very, you know, he cried at some p oints , while I was doing the interview.

So he sp end a lot of energ y trying and b ehind the scenes, through the back do or, the council and the prop erty develop er did the opp osite. They were promising that they would b e rehoused b etter and they even through parties to convince p eople but you know, it’s not the first time and it’s not the last time.”

Sophie: “ Yeah. Erm, just my final question is how would you like Excalibur to b e rememb ered?”

Elisab eth: “Oh I would like it to b e living not rememb ered, but yes rememb ered . It has the name of knights and stu ff so I would like to find someone who will come and save them! I failed, well not failed but I tried to do a little bit and unfortunately it’s to o late to b e rememb ered, well it’s not to o late for it to b e rememb ered how it was in its high days. It would b e go o d if there could b e a few of them 20/30 and as

long as they are still there the fight is not lost! But no, a lot of p eople missed- I don’t know what to say really.

You know there is the museum of the hous e, the G effrye museum. It’s a museum that deals with everything to do with the home, it’s in Shoreditch and it’s a great museum. But you know, like more middle class houses. I think it always go es back to this class problem actually. But anyway, if this sort of museum which has a lot of funding and creditability which could have taken over intelligently and try to do something without putting p eople in- But I don’t think they could do that actually.

It’s really a shame. Interesting things happ en outside of London. In Birmingham there is the tenements. You know the tenements? Where p eople used to live at the b eginning of the 20th century, you know, working class p eople. They live in tenements.

There is a tenements museum, what they do is, they kept it and did a museum where p eople can sleep there and we suggested that. In Birmingham there are listed prefabs and they had this idea to, it’s called the Birmingham Conservation Trust, you should talk to them. We had a few meetings with them and its very interesting what they want to do is keep the 17 prefabs as they are. I mean like 15 are still lived in by p eople so of course they stay and the two empty ones. One is converted into a museum and the other one is an Airbnb or b ed and breakfast thing so you can bring p eople to the place and bring a bit of money as well and if its cleverly done with the residents, which I think they were trying to do.

They were much more participative and they tried to involve the residents. But I think, yes, you should go and talk to them and then you do the same in the Excalibur Estate. You’re young, you can b e the last hop e for the Excalibur Estate!” (laughs) Sophie: (laughs) “ Thank you very much! That’s very helpful and very interesting.”

Elisab eth: “ You’re welcome, I will try and find those things for you so you can find out what Historic England has on their mind but they never really liked prefabs. I say that, but they published our b o ok so there is a bit of interest there but from a distance!”

Sophie: “ Thank you very much, that is so helpful.”

Elisab eth: “ You’re welcome and keep in touch. You can send me it when it is published and I would b e happy to read it!”

A pp end i x 67

Appendix Interview with Eva Branscome Interview conducted via zo om.

Thursday 8th Octob er 2020.

Sophie: “I was wondering if I could sp eak to you more ab out the listing pro cess and any work that you have done with the 20th Century So ciety on the side of campaigning for something to b e listed and how it works from that side.”

Eva: “ Yeah well I- when I was a case worker, I worked there for over 10 years and in this p erio d of time I got 50 buildings, actually more than 50 buildings or complexes listed. For example I got the Barbican l isted.”

Sophie: “Amazing, wow.”

Eva: “And that’s just one of my cases, just one of the 50, I’m not counting all the different buildings in the Barbican.

Yeah so basically, anyb o dy can put a building forward for listing and- but of course you have to build up a case so the 20th Century So ciety they are statutory consultees so they get funding for their case work. Because they are exp erts in 20th Century architecture. And although Historic England actually puts the things under protection, they have to listen to the advise of the 20th Century So ciety in terms of l isted building applications and so on and so forth.

And- and b ecause it’s acknowledged that their staff might not b e exp erts- you know who ever is going to list it. They are geographically organised so that might mean that they have a Masters degree in historic farm houses or something like that- so they know a lot ab out that but not mo dern buildings. They know they can’t have exp erts in every single, kind of, sp ecialisation of architecture and not in every era either. So it’s very go o d, they realise that it’s go o d to take advice from p eople like the 20th Century So ciety.

So you could put a building forward for listing but you might b e doing the application for the first time and might not exactly know how to build a go o d case and if you don’t include the right kind of things then i t just gets ignored. Have you lo oked online at the applications? How you make an application for a l isting ?

Sophie: “No, I haven’t actual ly.”

Eva: “ You should do this! Because you can start just filling everything out but not submit it and so you can kind of see which bits you need to fill out and how that works and trying to upload things. It’s not the easiest thing to do. You used to just write a letter, now you have to have the images and they only take a certain amount of images- The last time I put something down for listing it didn’t tell you how many images you could upload so you might have already prepared 25 and then they only take 17. I don’t know, it’s not as easy as it could b e. It makes the life of Historic England easy but anyone trying to do it on their own.

So that’s why p eople seek the supp ort of the 20th Century So ciety b ecause they are putting forward a lot of cases, I think I was doing mayb e 6 cases a year of which then p erhaps 1 or 2 got kno cked back. I was actually very successful b ecause I knew what they were lo oking for but of course it was also working in an office and having other p eople read it b efore I sent it off.

So as a private individual it’s not as easy to know what to do and where to lo ok in order to put it together.”

Sophie: “Ok.” Eva: “So then Historic England lo ok at it, they send out an insp ector and then they make a recommendation and then it’s the Department of Culture, Media and Sp ort that makes the final decision. And the final decision is p olitical. So the DCMS might put pressure on Historic England to turn it down. They ’ll say we are turning it down for some p olitical reason and you can make the b est case in the world but it will b e kno cked back. Like the Robin Ho o d Gardens case.

That wasn’t mind p ersonally but I was wor king there while it was going on and it was my colleagues case.

And then there was also one of my cases, Pimlico scho ol, which really should have b een listed Grade 2* but it wasn’t. Also the Barbican should have b een Grade 2* but it’s only grade 2. And these were p olitical decisions.

So that’s quite frustrating that a p olitician can say no and all of the history and campaigning can b e for nothing b ecause the p olitician signs it off.

Sophie: “Is there a way to app eal it afterwards or?”

Eva: “-Yeah you are allowed. I think you have to wait, if it’s turned down you have to wait and the only way you can make a new application is if you have new

A pp end i x 68

reasons or new evidence. You can’t just put the same thing in again. But of course, sometimes time is it’s own kind of evidence. You could argue that with the passage of time that p ossibly, p eople now understand this kind of architec ture b etter and realise there are less examples b ecause they have all b een kno cked down. So it has b ecome more rare in the 5 years or whatever.

Yeah, I mean, one of the things that I didn’t like ab out listing, something that frustrated me was that they were lo oking for architectural merit, of course historic as well but they don’t really lo ok at, and also they don’t protect, so cial use. On the one hand it’s difficult, b ecause you might have a building where the use has gone away. Let’s say something like a church, no one wants to go to church anymore so the Church of England sells it off. You can’t force its use as a church anymore and then p eople turn it into fla ts or somethi ng. But they don’t lo ok at use, you could say it should still b e used as a place of congregation but they don’t protect use. Even though if you change the use you inevitably change the fabric.

This is sort of the thing I found disapp ointing, that there was not enough protection of the use.”

Sophie: “ Yeah. That’s interesting. So even if something is listed can it then change use?”

Eva: “ Yes. You have to make an application with the lo cal authority - it’s a change of use application but I don’t think that has to go through listed building consent. If a building is listed and yo u want to make a change as an Architect, if you have to submit a listed building consent application. And the list description do esn’t contain a statement of significance. The older listing descriptions were very short, the newer ones are much longer and they also explain what at the time of listing was considered the reason why it was listed. So each design intervention has to b e considered in its own context.

So that’s what the conservation officers at the lo cal authorities do. They will lo ok through the drawings and there might b e a conservation consultant and then th ey put it forward to the 20th Century So ciety and say we want to make this change b ecause. They then lo ok at it and decide if it’s ok or not ok. Even if we say we don’t agree with it its very difficult to stop it from happ ening. If the lo cal authority wants more housing they will let that happ en even if we say no.

Sophie: “Ok, yeah. With Excalibur it seems to have gone from, originally they wanted it to b e a conservation

area. Is that the same pro cess?”

Eva: “No, no. The conservation areas are decided by the lo cal authority and they will listen more closely to like, if you live in an area and you are paying council tax there and you have a group, a lo cal group, that campaigning they ’ll listen more to that then to the 20th Century So ciety. The 2CS can then send a letter of supp ort to the lo cal group but at the 2CS we were understaffed and we couldn’t deal with those cases b ecause really we didn’t have the same clo ut as the lo cals did.

The Barbican, it’s listed but its also b een t urned into a conservation area so sometimes they are b oth things. Conservation areas only protect the outside where as the listing is also the inside. Amd conservation area, what you do in your backyard nob o dy cares, its streetscap e.”

Sophie: “Oh ok, yeah that makes sense. They wanted that b ecause of the layout of the estate.”

Eva: “ Yes. They didn’t want p eople filling in inb etween. Often its b ecause there is a playground or landscaping and all of a sudden someb o dy is saying oh we’ll put some more housing there and then the p eople have lost their community spaces. Actually on a lot of these council estates it has to do with the fragile nature of the community spaces.” [break in transcript] Eva: “ You see when the Barbican got listed that was very controversial b ecause 2000 flats got listed. 2000 prop erties and the conservation- the planning department of the City of London they said we can’t deal with all the applications. If anyb o dy wants to change a do or or change anything in the interior they have to do a listed building consent application and we don’t have the man p ower to deal with so many applications so what then we did was we did the listing building management guidelines. They basically said, and it was Avanti architects and John Allen who do this and it was basically a traffic light system. It was a b o oklet and it was hashed out for, you know, over a year. And it was decided that if something fell in the green section, that was all the things that you were allowed to do and please don’t b other the planning department with asking for p ermission. They don’t have time. You’re allowed to do it, you’re allowed to make this change.

Then there was yellow, yellow was the category where

A pp end i x 69

you probably are allowed to do it but you need to still contact the conservation officer who will say well you should still get an architects plan and you will still have to do a listed building consent application for this. Or you are allowed to do it b ecause it’s so small.

But you are probably going to b e allowed to do it but we need the pap erwork on this.

Then it was red. Red was you’re probably not a llowed to do it but p ossibly you could do it in a certain way that would b e acceptable so you still need a listed building consent application for that.

And then black was you’re not allowed to do it, you’ll never b e allowed to do it and don’t b other us by asking. So that was the extreme. And that was really go o d b ecause all of the owners knew tha t these rules counted for everyone. And they knew that- and they would rep ort their neighb ours if they realised that someb o dy was doing something that they didn’t think was right. They would come to the 20th Century So ciety and say ‘they ’re doing this...’

So but that was, you know. Some of these larger brutalist, mo dernist estates started then doing the conservation management plans or listed building management plans, you know, guidelines where it was b ecause of the lack in the listing to identify what i s really imp ortant it was then hashed out for the residents. But its so complicated. And then of course things changed over the decades. What you think is i mp ortant now might b ecome- or not that imp ortant i n 10 years time might b e incredibly rare. So these things then change as well, but anyway.

With the listed building management guidelines you would have that leverage to start p erhaps moving something from the yellow category into the red and from the red into the black. And that would b e less bureaucratic then trying to change a list description.

So do es that make sense?”

A pp end i x 70

A pp end i x 71

Appendix Interview with June Bromwich Interview conducted via telephone.

Saturday 31st Octob er 2020.

Sophie: “So I was just going to ask you to describ e the house that you grew up in b ecause I am writing ab out the prefabs, as you know, but I am trying to get a sense of what other typ es of housing were like at the time and why prefab estates were so successful and what other h ousing was on offer to p eople at the time? Did you say you that you grew up in the council house?”

June: “ Yes, erm. It was a house built by the LCC, which is the London, or was, the London County Council.”

Sophie: “ Yep.” June: “My, erm, my grandparents moved from Arlington Road, in Camden Town, from a one ro om... err, they had one ro om in a house along with other families and then there would b e a gas hob, or a gas oven, on the landing which they all used. And in that house were my grandparen ts plus my mother and her sister.

They were then offered a house by the London County Council, the LCC, out at the erm, far end of the Edgware Road, b etween Burnt Oak and Edgware.

And this house was huge by comparison b ecause it was three b edro oms with a combined bathro om and toilet u pstairs and then downstairs, and you came i nto a hall with stairs going up to the right and then you had a sitting ro om and a dining ro om and a kitchen and a back-do or into a garden. And this was an end terrace, red brick erm, typical erm, you know, council red brick prop erty. And it was on a small estate off of the Edgware Road which fell down into Deansbro ok Road and it was erm, it was just a lovely house! With a garden, with a large front garden and oh, up further on Deansbro ok Road and over the hill was the G oldb eaters Estate erm and, but just very nice. I lived there until I was seven. And it was a solid, brick built house and that house was lived in by my, after my grandparents past away, my aunt and she was there until she was in her late 80s.

And then we have- The council then offered the erm, rent b o ok holders, that they could buy that house and we brought it on her b ehalf, to save her paying anymore rent. And erm, we then, after she passed away, we sold it and they are still all standing now.

They were a solid, solid, brick built houses.

As I said it was an end terrace and it faced, square on, onto a green. Which you know, as children we wou ld all go and play out on and it was erm,

a b eautiful house. And then my parents, we lived there, erm I was b orn in 1941 and erm, my nan and grandad were in one b edro om, my mum, dad and me were in another b edro om (but my dad was away, he was in the RAF and erm, he was away) and then my aunt was in the third b edro om. And erm, my pa-my mum, you know they put in, mum and dad put in for a council house as well and they got a council house at Mill Hill.”

Sophie: “So it was all allo cated b ecause you were multiple generations living under one ro of ?”

June: “ We were overcrowded in my nan’s house yeah.

I mean they came round and insp ected erm, the ro oms, to see how many p eople you know, were and whether you were really telling the truth. But it was a really solid, erm a solid house.”

Sophie: “And was that the way that most p eople got housing then? Like you didn’t have to- b ecause now obviously I would have to live with parents to save up for a mortgage.”

June: “Mortgage. Yes absolutely b ecause there aren’t council houses built these days.”

Sophie: “ Yes.” June: “ You see so it was a brilliant idea to build the council houses! And erm then, you were offered them. I would say it was probably in the late 50s, early 60s, they were erm, you were offered if you wanted to buy this house and they set out a price. I can’t rememb er.

My grandparents, at that time, said no they didn’t want to b ecause they were, you know, well they just didn’t think it was a go o d idea. They couldn’t see the fact that you know, Brixton Water was a thing to invest in. And erm, so they didn’t but my parents erm did buy the house at Mill Hill and erm, they sold it in retirement and moved to a bungalow in Bournemouth which was their dream. But it was a very solid house erm, you know, no obviously central heating.”

A pp end i x 72

Sophie: “ Were the toilets or bathro oms outdo ors?”

June: “No it was absolutely standard, you know, upstairs 3 b edro oms and a combined toilet and bathro om.”

Sophie: “And th e one that you originally lived in with your aunt, was that also indo or bathro oms?”

June: “ Yes, yes. But they were, you know, nice houses and erm, sort of, very what I call sensible family homes.

It was very, very go o d. And erm, it was quite a big estate I supp ose really, erm, but erm, a very pleasant part, you know right at the end of Edgware Road and it was very go o d.”

Sophie: “ Yeah, that sounds nice.”

June: “ What else did you need to know ? We lived with my grandparents through the war and my grandfather brought a, an air raid shelter and it was 21 shillings Sophie, which is £1 1 shilling. And err put it in the back garden. And that’s still there, err well we had it still there until we sold, I don’t supp ose it’s there now. But erm (laughs) just out of interest! Anything else I can help you with in that resp ect? There’s not a lot really that I can tell you except that it was built as a typical council red brick. And also we had, obviously wo o d en, erm errr what do you call the windows that erm. Oh, hang on let me just ask grandad what were called. It’s the windows that you lift up.”

Sophie: “Do you mean sash windows?”

June: “ Yes sash windows, you are absolutely right yes.

Wo o den sash windows, you know, little squares and it just lo oked lovely. (laughs) Really lovely. Well I’m very sentimental and I have very fond memories of that house.”

Sophie: “ Yeah! That’s so nice.”

June: “ Yeah it was lovely. Anything else?”

Sophie: “Erm, I think I missed the bit at the start when you were comparing it with grandmas house. Would you mind rep eating it? When you describ ed the layout of the house?”

June: “ Yes, erm grandmas house is an end house and erm, my grandparents house was not dissimilar but larger.

Erm, you would walk into my grandparents house, in and up a couple of steps, into the hall a nd the stairs were immediately on the right. G oing up the stairs you have three b edro oms, which were go o d size b edro oms. Erm, you know, two double b edro oms and a large, what we call, a b ox ro om and a combined toilet and bath. Erm, and downstairs you had, a kitchenette, as it was called, erm a narrow gally kitchen which went with a do or which lead out to the garden and a sitting ro om and dining ro om joined by double op ening do ors. And there were op en fires in two of the b edro oms and in, obviously, the sitting ro om and dining ro om downstairs. And I, you know, it was all very well thought out and equipp ed. You know, go o d design. G o o d solid design for a family house.”

Sophie: “ Yeah, it’s so interesting reading ab out all this and understanding what the government did for p eople back then compared to now. It’s such a difference isn’t it?”

June: “ Yes, absolutely. Absolutely. But then, you know, nob o dy had any money in those days. And the council could say to you, b ecause it would always frighten me that if you weren’t using all the ro oms-and in those days a lot of p eople would, neighb ours would tell on their neighb ours if you see what I mean. You know, like nowadays the word they use is snitch isn’t it?”

Sophie: “ Yes.” June: “And, you know, if they thought that well you put in for a three b edro om house but actually you only used two of those b edro oms they would notify the council and the council would come round to chec k it out and would move you away and put another family who would use the third b edro om in. So I always feared this for my grandparents you see? (Laughs).

A pp end i x 73

Esp ecially when mum and dad and I moved out, you know, but erm, I supp ose they always paid their rent on time. That was another thing, you couldn’t get b ehind or into arrears with paying your rent and err, you know it was go o d. We had a lovely back garden and front garden. And my grandad won all sorts of prizes for his garden! (laughs).

Sophie: “Awh that’s so nice! So did you go fruit and veg while the rationing was still enforced?”

June: “ Well yes, he put the shelter in the back garden and erm, th en he did grow p otato es and things like that.

And I think John Lang built them. That was the name of the builder I think. Anything else?”

Sophie: “No I think that’s everything, thank you so much!”

Bi b l i o g rap h y 74

Bibliography A i g n er, ‘Consu m i ng Ar chite ctur e : On the o c c u pation , appr opr iation an d in te r pr e tation o f b u i ld i n gs’, i n Trans forma tion u nwa nted! Heri t a ge-m a ki n g a n d i t s ef fec t s i n L e C or b u s i er ’s Pes s a c e st at e , ed . b y Da n i el M a u dli n and Mar ce l Ve l l inga, 1s t e d n (A b in gd on , R ou tl e d ge , 2 0 14 ), pg.86 - 10 4 , Tay lo r & Fra nc i s eB o oks.

A rc h i tect s for So ci al Ho us ing, Ar chite cts fo r S o c ial Hou sin g, 2 0 17 <h ttps:// a r c h i t ect sf orso ci a lho us ing.co .uk /20 17 /0 6/2 6 /e state s- of- me mor y - th e - e x c al ib u r - e state /> [ a cces s ed 26 / 1 1 / 20] B l a n c het , E li sa b et h, Exca l ib u r Es ta te - Eddie t a l ks a b ou t t h e dem ol i t i on p r oc es s, on l in e v id e o r ec o rd i n g , Yo u Tu b e, 10t h Novemb e r 20 13 <https ://www.y ou tu b e .c om/watc h ? v = Ne j r CM7_ItY > [ ac c e sse d 0 5 / 1 1 / 20] B l a n c het , E li sa b et h, inte r vie w by autho r, L on d on (v ia z o om), We d n e sd ay 7th O c tob e r 2 0 2 0 ( f ull i n t erv i ew p g. 41- 45) B l a n c het , E li sa b et h, Pa l a ces for the peopl e, on l in e v id e o r e c or d in g, You Tu b e , 12 th A u gu st 2 0 1 4 < h t t p s :/ / w ww. you t ub e .co m/watch?v= FAk S0IiI3 n s> [ ac c e sse d 0 5/11/2 0 ] B l a n c het , E li sa b et h and Zhuravl yo va, So ni a, P r efa b s : A s oc i a l a n d a r c h i t ec t u r a l h i s t or y, 1st e d n , ( Sw i n don, H i st ori c Engl and, 20 18) ] B o u g h t on, Joh n, Municipal Drea ms : The Ris e a n d Fa l l of C ou n c i l Hou s i n g, 1st e d n (L on d on , Ve r so B o o k s , 201 8 ) B r i t i s h Li bra ry, Britis h Lib ra ry, n/a <https ://www.b l .u k /l e ar n in g/time l in e /ite m10 759 7.h tml > [a c c e s s ed 26 / 11/ 20] B r i t i s h Pa t h é, Ho m es Whil e You Wa it 19 45, o n l in e v id e o r e c or d in g , Br itish Path é fil m ar c h iv e s , 1 s t O c t o b e r 19 45 , < h t t ps ://www.br itis hpathe .c om/v id e o/h ome s- wh il e - y ou - wait> [ ac c e sse d 3 O ct o b er 202 0 ] B r o o k er, Gra em e and Sto ne , Sal l y, Re-readi n gs : 2, 1st e d n (L on d on , R IBA P u b l ish in g, 2 0 19 ) B r o m wi ch , Ju ne, i n te r vie w by autho r, Lo ndon (v ia te l e ph on e ), S atu r d ay 3 1st O c tob e r 2 0 2 0 ( f ull i n t erv i ew p g. 47- 49) Ca i rns, St ep h en a n d Jaco bs , Jane M, B u il din gs m u s t di e, 1st e d n (Can ad a: MIT P r e ss, 2 0 14 ) Ca mp ki n, B en, R e making London: D ecl ine a nd Regen er a t i on i n Ur b a n C u l t u r e, 1st e d n (L on d on : I . B .Ta uri s & C o m pa ny Lt d, 2013) Ch a b o rw e, B a rba ra, ‘On the Significance of Te mp orar y A r c h ite c tu r e’ Th e B u r l i n gt on Ma g a z i n e, Vol. 116 . 856 ( 1974) , pg. 385-391 < h ttps://www- j stor - or g .u ow.id m.o c l c .or g/ s t a b l e/ 8 7773 2? si d=pr imo &s e q=1#me tadata_in fo_tab _c on te n ts> [ ac c e sse d 15/10 /2 0 ] Co o k , C h ri s, T h e R outl edge compa nion to B rita i n i n t h e n i n et een t h c en t u r y, 1 8 1 5 -1 9 1 4, 1st e d n (L o n d o n , Ro u t ledge, 2005 ) Da l y, Tho mas, ‘T he war and co nditio ns in En g l an d . O u r g r e ate st e ffor t is c omin g ’ Vi t a l S pe e ch e s o f t h e Day, Vol. 10. 12 ( 1944) , pg 354-358 < ht tps://we b .a.e b sc oh ost.c om/e h ost/p d fv ie we r / p d f v i e wer? vi d=4& s id= d86ccfe b-56b8-40 cf-b 0 c 0 - 582 3 e a6 82 0 c d % 4 0 se ssion mg r 4 0 0 7> [ ac c es s ed 11 / 1 2 / 20] D e B otto n , Alain , The Architecture of Ha ppin es s, 1st e d n (L on d on : Pe n gu in , 2 0 0 7) Do u g la s, M a ry , ‘ T he ide a o f ho me : A kind of spac e’ , S oc i a l Res ea r c h, Vol .58.1 (19 9 1)

Bi b l i o g rap h y 75

Do w, Bi ba , ‘B i ba Do w: ‘Pr o fe s s io n’s fail ur e to e mb rac e r e tr ofits is a mac h o h an g ov e r of Mo d ern i s m’ Th e A rc h i te c t’s Jo urna l , 20 th Januar y 20 20 <h ttps://www.ar c h ite c tsj ou r n al .c o.u k /n e ws/opin i o n / b i b a d o w - p r ofessi ons- f ail ur e -to -e mbrace -r e tr o fits- is- a- mac h o- h an gov e r - of- mo d e r n ism> [ ac c es s ed 2 3 / 1 2 / 2 0] E L E M E N TAL, ‘Q u i n ta Mo nr o y/ELEMENTAL’ , A r c h da i l y, 3 1st D e c e mb e r 2 0 0 8 <h ttps://www.ar c hd a i ly. c o m/ 1 0 775 / qu i nt a -mo nr o y-e l e me ntal ?ad_m e d iu m= gal l e r y > [ ac c e sse d 0 5/0 1/2 1] Fra n c i s, Pa u l, ‘ T h e his to r y o f Uni-Se co Str u c tu r e s - g u e st b l og p ost’ , Th e P r efa b Mu s eu m, (17 t h No v em b er 2016 ) < https ://www.pr e fabmus eu m.u k /c on te n t/h istor y /th e - h istor y - of- u n i- se c os tru c t u res-gu est -bl o g-p o s t> [acce s s e d 30 /1 0 /2 0 ] Hea r n , Ja ne, T h e Prefab Mus eu m, 20 14 <https://www.pr e fab mu se u m.u k /c on te n t/ab ou t/in tr o d uci n g w e b s i t e> [a ccessed 20 /10 /20 ] Hi s to r ic E ngla nd, His to r ic Engl and, 20 0 9 <h ttps://h istor ic e n gl an d .or g.u k /l istin g/th e - l ist/ li s t e n t ry/ 13 9 3 212> [a c ce s s e d 20 /11/20 ] Hu r s t, Wi ll, ‘I nt ro ducing Re tr o Fir s t: a ne w A J c ampaig n c h ampion in g r e u se in th e b u il t e n v i r o nm ent ’ T h e Architect’s Jou rnal, 12th Se pte mb e r 2 0 19 <h ttps://www.ar c h ite c tsj ou r n al .co . uk / n ew s/ i nt ro du ci ng-r e tr o fir s t-a-ne w-aj-campaign - c h ampion in g - r e u se - in - th e - b u il t- e n v ir on m en t > [ a c c e s s ed 26 / 02/ 20] Jenk i n s, Si m on ‘E xcal ibur ’s cas tl e s buil t from p ostwar d r e ams mu st n ot b e d e mol ish e d ’ , G uar d ian, 6 th Ja n u a ry 2011 < https ://www.the guar dian .c om/c omme n tisfr e e /2 0 11/j an /0 6 /e x c al ib u r - c as t les p r e f a b -p ost - wa r-de mo l is he d> [acce s s e d 29/0 9 /2 0 2 0 ] Keed w ell, Pa u l, Hea ds pace: The Ps y chol og y of C i t y L i vi n g, 1st e d n , (L on d on : A u r u m P r e ss, 2 0 17 ) Kelv i n , Norm a n, T he Col l ected Letters of Wil li a m Mor r i s , Vol u m e 1 , 1 8 48 -1 8 8 0, 1st e d n ( P ri n c e t on: P ri ncet o n Unive r is ty Pr e s s , 198 4 ) Ki n g , Pet er, Un d e rs tanding Hou s ing Fina nce: Meet i n g Needs a n d Ma ki n g C h oi c es, 1st e d n (L on d on , Ro u t ledge, 2001) Lew i s ha m Cou nci l, Res idential des ign s tandar ds : s u p p l em en t a r y p l a n n i n g doc u m en t .

L o c a l d e ve lo pme n t fra mework,( Lo ndo n, 20 0 6), <fil e :///C:/Use r s/Home /Down l oad s/ Resi d e n t i a lDevelopme ntStandar ds SPD.p df > [ ac c e sse d 13 /10 /2 0 ] M ay o r a nd Ca bi net, Exca l ib u r B unga l ow Es ta t e – Dec en t Hom es t h r ou gh s t oc k t r a n s fer (L on d on , 2 007 ) p g .

3 <h tt p s: / / cou nci lme e tings .l e wis ham.go v.uk /Data/May or % 2 0 an d % 2 0 Cab in e t/2 0 0 70 4 18/A g en d a / fa b e f a 7 118 7c4d6 3 898f2a0 a5bad527 dIte m6E x c al ib u r 18A pr il 2 0 0 7.P DF > [ ac c e sse d 2 6 /11/2 0 ] O x f o r d E ngli sh Di ctio nar y, Oxford Engl is h Di c t i on a r y, n /a <h ttps://www.o e d .c om/ v i e w E nt ry/ 13 5 5 18 ? r e dir e cte dFr o m= o wne r sh ip# e id > [ A c c e sse d 2 4 /11/2 0 ] .

P l a n ni n g Com m i t t ee ( B) , Exca l ib u r Es ta te regen er a t i on a r ea , L on don , S E 6,(L on d on , 2 0 11) <h ttp s : / / co u nc i lm eet i ngs. lewis ham.go v.uk /do cume n ts/s2 6 83 /Ex c al ib u r % 2 0 Estate % 2 0 R e ge n e ration%2 0 A rea % 20SE 6 . p df > [ acce s s e d 12/11/20 ] P l a n ni n g p ort a l, P lanning portal, n/a <https://www.pl an n in g p or tal .c o.u k /d ir e c tor y _r e c or d / 27 5 / h a bi ta b le_ ro om s> [acce s s e d 26/11/20 ] P r e f a b Mu seu m , ‘A wo nde r ful chil dho o d in th e Ex c al ib u r Estate pr e fab s’ Th e P r efa b Pos t, Vo l 1 ( 201 4 ) < h t t p s :/ / w ww. p refabmus e um.uk /wp-co nten t/u pl oad s/2 0 16 /0 6 /P r e fab - Post- 2 0 14 - c ompr e ss ed . p d f > [a c c e s s ed 26 / 11/ 20]

Bi b l i o g rap h y 76

Reev es, Pa u l, Intro du ction to s ocia l hou s ing, 2n d e d n (L on d on : R ou tl e d g e , 2 0 0 6 ) S c o t la n d, Ni gel, Squires in the Sl u ms : Settl em en t s a n d M i s s i on s i n L a t e-Vi c t or i a n L on don, 1st e d n ( L o n d o n , I. B .Ta uri s & Co Lt d, 20 0 7 ) S PA B, Th e Man i fe sto of the Society for the prote c t i on of A n c i en t B u i l di n gs (L on d on , 2 0 15) <h ttp:// o rcp . h u st o j .com / w p -con te nt/upl o ads /20 15/10 /18 77-Th e - S PA B- Man ife sto.p d f> [ ac c e sse d 0 4 /0 1/21 ] S t o n e, Sa lly, Un Do i ng B u il dings : Ada ptiv e Reus e a n d C u l t u r a l Mem or y, 1st e d n (L on d on : R ou tl e d g e, 201 9) Tay lo r Wo o drow, Tay l or Woodrow, n/a <https://www.tay l or wo o d r ow.c om/ab ou t- u s/ou r - h e r it a g e. h tm l > [a ccessed 04/0 1/20 ] T h e Fra nkfu rt Ki t c he n, n/a, MAK ( Mus e um of appl ie d ar ts), V ie n n a <h ttps://www.mak .at/e n / t he_ fra n k f urt _ ki t ch en_1> [acce s s e d 27 /12/20 ].

T h e Ti m es, ‘Si m p li fie d ho us ing. Pr e fabr icate d ty p e on v ie w ’ , Th e Ti m es, 2 n d May 19 4 4 <h ttp s : / / w w w. th et i m es. co. uk/ar chive /ar ticl e /1944- 0 5- 0 2 /2 /4 .h tml # star t% 3 D 19 4 4 - 0 5- 0 1% 2 6 e n d % 3 D 1 94 4 -05 0 6 % 2 6 term s%3 DTa te %26back% 3D /tto /ar chiv e /fin d /Tate /w:19 4 4 - 0 5- 0 1% 7E19 4 4 - 0 5- 0 6 /1% 2 6 p rev %3D/ t to / a r c h i ve/ f ra m e/go to /Tate /w:1944-0 5- 0 1% 7E19 4 4 - 0 5- 0 6 /3 % 2 6 n e x t% 3 D /tto/ar c h iv e /frame / g o t o / Ta t e/ w :19 44- 05 - 01%7 E1944-0 5-0 6/5> [accesse d 2 4 /11/2 0 ] T h e Ti m es, ‘ WVS Gar de ns Sche me’, The Times, 18th Jan u ar y 19 4 9 <h ttps://www.th e time s.c o. uk / a r c h i v e/ a rt i cle/ 19 49-0 1-18/5/8.html #s tar t% 3 D 19 4 9 - 0 1- 0 1% 2 6 e n d % 3 D 19 4 9 - 0 1- 3 1% 2 6 te r ms%3Dg a r d eni n g%26 ba ck%3D /tto /ar chive /find/gar d e n in g /w:19 4 9 - 0 1- 0 1% 7E19 4 9 - 0 1- 3 1/1% 2 6 pr e v % 3 D/ t t o / a r c h i v e/ fra m e/ got o /gar de ning/w:1949-0 1-01% 7E19 4 9 - 0 1- 3 1/2 % 2 6 n e x t% 3 D /tto/ar c h iv e /fram e/ g o t o / g a r d e n i ng/ w : 19 49 -0 1-0 1%7 E1949-0 1-31/4> [ ac c e sse d 11/11/2 0 ] Wa i t e, Ri ch a rd, ‘Re tr o Fir s t: Is the he r itage se c tor ad aptin g to r e u se ? ’ Th e A r c h i t ec t ’s Jou r n al, 2 8 t h Febru ary 2020 < h t tps ://www.ar chite cts jo urn al .c o.u k /n e ws/r e tr ofir st- is- th e - h e r itag e - se c to ra d a pt i n g- t o- reu se> [acce s s e d 24/11/20 ] Z h u rav lyova , Soni a, ‘ War, pr e fabs and an un l ik e l y fr ie n d sh ip b e twe e n opp osin g sol d ie r s’ , G uar d ian, 5 th Ju n e 2014 < h t tps ://www.the guar dian.c om/c itie s/2 0 14 /j u n /0 5/war - pr e fab s- an d - an - u n li k ely fri e n d sh i p -b et w ee n-o pp o s ing-s o l die r s > [ac c e sse d 0 5/0 1/2 0 ]

Bi b l i o g rap h y 77

L i s t o f i l l ust ra t ion s 78

List of illustrations Fi g u r e 01 (cov e r i mage) C h r i s tin e Gr e g g o ry, ‘G a rd en 1982’, onl ine pho t o a rchi ve , Pho t o she lt e r, 198 2 <ht t ps:/ / e l i s a b e thblan che t.phot osh el t er.com/ga lle ry -i m a ge / A rchi ve -Pre f a b s-C hri st i ne -R i ch-C a tf or d/ G 0 0 0 0D cxhTwsFH3g/I0000kt HpE gfBUrU / C 0 0 0 0 W 5 X3 cq KrgD Q > [ a cce sse d 0 3 / 0 1/ 2 0 2 1 ] .

Fi g u r e 02 - 1 950s p r efab es tate P i nt er e st, ‘1 9 50s prefa b’, onl ine ima ge f i le , Pi nt e re st <ht t ps:/ / www.go o gle .c o m / se a rch ? q = p r e f a b +ho me s+1 9 50s&sa = X&h l = en-G B&t b m=i sch& so urc e =i u& i ct x=1& f i r=I V T4 rrq 1vIve xM% 2 5 2 C r 3 y p B d G PG8bNM M%252C_&vet = 1&u sg= AI4_ -kT1z R f wO q DA rU HOWo 6 ub X_ 8 hja 9ng& ve d =2 a h U K E wj x 0 f mako D uAhU6QkE AHfQ-Dp8Q9QF 6B A gI EA E& b i w=10 11& b i h=6 4 1# i m grc=I V T4 rrq 1v Iv ex M > [ac c e s se d 29 / 1 2 / 2 0].

Fi g u r e 03 - Glasgo w 195 0 s p r efab Hi s t or ic En v iro n m ent Scot l a nd , ‘ Typica l Pre f a b o f t he t i m e’ , o nli ne pho t o a rc hi ve , B r ita in f r o m ab o v e , 1 9 50 < ht t ps://b rit a infroma b o ve .o rg.uk/ si t e s/ d e f a ult / f i le s/ st y le s/ ugc_ la r g e_ 6 0 0 _ wi d e/public/ 4F%20Typica l %20P refa b .jpg ?i t o k=sQ lN5 C rm > [ a cce sse d 0 3 / 0 1/ 2 0 2 1] Fi g u r e 04 - L ittle s treets an d gar d en s o f pre f a b e st a t e N/a , ‘Garag e co n st ru ct ion’, onl ine ph ot o a rc hi ve , Pi nt e re st , n/ a <ht t ps:/ / z a .pi nt e re st . c om / p i n /4 69 007 74 8679762937/> [a cces sed 03/ 0 1/ 2 0 2 1] Fi g u r e 05 - T h e E xcalibur E s tate fr o m a b o v e E l i s ab eth B lan chet , ‘ Th e E x ca l ib u r E st a te , p o st -wa r pre f a b e st a t e i n C a t f o rd , S o ut h L o ndo n 2 002 - 2004’, onl ine phot o a rchiv e , Pho t o she lt e r, 2 0 0 4 <ht t ps:/ / e li sa b e t hb la nc h et. p h ot oshe lte r. co m/ga l l ery-ima ge/The-E xc a li b ur-Est a t e -C a t f o rd -2 0 0 2 -2 0 0 4 / G 0 0 0 0 ngG . zN P. ALg /I 0 000y N8T j OkUwgI/C0000W5X 3cq KrgD Q > [ a cce sse d 0 3 / 0 1/ 2 0 2 1] .

Fi g u r e s 06- 07 C h r i s tin e Gr e g g o ry, ‘Chris t ines prefa b 1 97 6 :Ea rly 6 0 ’s’ , o nli ne pho t o a rc hi ve , Pho t o sh el ter, 1 9 7 6 < h ttp s:/ / e lisab et hb l a nchet .ph ot osh e lt e r.co m / ga lle ry -i m a ge / A rc hi ve -Pre f a b s-C h r is tin eR i c h - Catfo rd/ G0000Dcx hTw sF H3g/I0000 MMYgL R pFvQM/ C 0 0 0 0 W 5 X3 c q KrgD Q > [ a cces s ed 0 3 /0 1 /202 1 ].

Fi g u r e 08 - S cre e n s ho t o f zo o m in ter vi e w wi th El i sa b e th Bl a nc he t S o p h i e Gun e ratn e, ‘Screens hot of zo om i nt e rvi e w wi t h Eli sa b e t h B la nche t ’ , t a ke n b y a u th or.

Fi g u r e 09 - Elisab eth Blan chet o uts id e t he Pre fa b Mu se u m New s ho p p e r, ‘45-LS-E l is a b et h -Bl a nchet ’ , o nli ne ne ws a rt i cle , Ne wsho pp e r, 2 0 14 <ht t p s : / / ww w. ne wssho p p e r.co.u k/news /11566774. ca t f o rd -pre f a b -m use um -f i re -d e va st a t e s-cura tor / > [ac c e s se d 27/ 1 1 / 2 0].

Fi g u r e 1 0 - V E day celebratio n s B BC Ne ws, ‘ VE Day cel eb ra t ions’, news art i c le , B B C Ne ws, 7 t h May 2 0 2 0 < ht t ps:/ / www. b b c . c o . u k / n e ws/ uk-52557524> [a ccess ed 03/0 1/ 2 2 0 2 1] .

Fi g u r e s 1 1 -2 2 - Homes w hi le y o u w ai t B r i t i s h Pathé , Screensh ot s from ‘Homes W hi le Yo u Wa i t 194 5 ’ , o nli ne vi d e o re c o rd i ng , B r i t i s h Pathé , 1 st Oct ob er 1945 <ht t ps://w ww.b ri t i shpa t he .c o m / vi d e o / ho m e s-whi le -y o u - w a it> [ac c e s se d 3 O cto b er 2020].

L i s t o f i l l ust ra t ion s 79

Fi g u r e s 2 3 - A ban do n ed ho mes E l i s a b e th B lan chet , ‘IMG _2918’, onl ine p ho t o a rchi ve , Pho t o she lt e r, 2 0 13 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/image ?& _ b q G =0 & _ b q H =e Jxt j0 9L xDAQ xT_ N 9 i a 0 YrEWckg zsYx t E s 2fSrwMs gp7Ub Qu i .y nNy m L FnUOk997 k5 c w4 8 2 .PD 4 0 d _ NQ 0 ee bOZ 6p 9.m.UeYw X7RVW5d l W5WpW i Rwgq Hq 6 f y q a go kB 9z LTd 0 pt a m B rQ y A b AC srJg q m _ lMt vw d lX .j 8v. [acc es sed 24/11/20] Fi g u r e s 2 4 - Eddi e O’Maho n y in his b edro o m E l i s a b e th B lan chet , ‘E d d ie O’Ma hony d a ns la cha m b re d e so n pré f a b ri q ué Uni -S e c o , L o ndr e s’, o n lin e ph ot o a rchive, P hot osh e lt e r, 2 0 12 <ht t ps:/ / e li sa b e t hb la nc he t .pho t o s h el ter. c om /g a lle r y- imag e/P refa b s-E d d ie-OMa ho ny / G 0 0 0 0 XgO 7 U.uq V _ M/ I 0 0 0 0 wKy A X5 C vG q s / C 0 0 0 0W 5X3cqKr gDQ> [a cces sed 24/11/20 ] Fi g u r e s 2 5 - Eddie O’Maho n y o uts i d e his pre f a b s E l i s a b e th B lan chet , ‘P refa b s-4’, onl ine pho t o a rchi ve , Pho t o she lt e r, 2 0 0 7 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/ga lle ry -i m a ge / Ed d i e -pre f a b s-I nd e p e nd e nt / G 0 0 0 0v U J7MqEn 4l Q/I0000UXgL_X 1l d 1Y/ C 0 0 0 0 W 5 X3 c q KrgD Q > [ a cce sse d 2 3 / 12 / 2 0 ] Fi g u r e s 2 6 - Entra n ce to the E xcalibur Est a t e E l i s a b e th B lan chet , ‘01_P refa b s _13-06-20 12 _ 0 5 4 2 ’ , o nli ne pho t o a rchi ve , Pho t o she lt e r, 2 0 1 2 <h t t p s :/ / e lisab e th b l a nchet .ph ot osh el t er.c o m / ga lle ry -i m a ge / L o nd o n-Pre f a b s-Exc a li b u r E s t a t e -Catfo r d/ G0 000.N0W6JeA ka 8/I000 0 q Hi 7 XwLYf B 4 / C 0 0 0 0 W 5 X3 cq KrgD Q > [ a cce s s ed 0 6 /0 1 /202 1 ] Fi g u r e s 2 7 - Catfo rd s tati o n E l i s a b e th B lan chet , ‘IMG _2911’, onl ine pho t o a rchi ve , Pho t o she lt e r, 2 0 12 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/image / I 0 0 0 0 cxO cq Df A e Io > [ a c ce sse d 0 6 / 0 1/ 2 0 2 1 ] Fi g u r e s 2 8 - A ban do n ed s w i n g in p r efab g a rd e n E l i s a b e th B lan chet , ‘ T68B3042’, onl ine pho t o a rc hi ve , Pho t o she lt e r, 2 0 18 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/ga lle ry -i m a ge / Pre f a b s-C a t f o rd -S e pt e m b e r-2 0 18 / G 0 0 0 0Av sqHucdHT U/I0000RYDXgm0TGI E/ C 0 0 0 0 W 5 X3 c q KrgD Q > [ a cce sse d 2 5 / 11/ 2 0 ] Fi g u r e s 2 9 - Muri al o f s p itfi re E l i s a b e th B lan chet , ‘ T68B3092’, onl ine pho t o a rchi ve , Pho t o she lt e r, 2 0 18 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/ga lle ry -i m a ge / Pre f a b s-C a t f o rd -S e pt e m b e r-2 0 18 / G 0 0 0 0Av sqHucdHT U/I0000R5SM.uY.RRg/ C 0 0 0 0 W 5 X3 cq KrgD Q > [ a cce sse d 2 5 / 11/ 2 0 ] Fi g u r e s 3 0 - A band o n ed p refabs E l i s a b e th B lan chet , ‘ T68B3050’, onl ine p ho t o a rc hi ve , Pho t o she lt e r, 2 0 18 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/ga lle ry -i m a ge / Pre f a b s-C a t f o rd -S e pt e m b e r-2 0 18 / G 0 0 0 0Av sqHucdHT U/I0000umv8wnZP Bb Y/ C 0 0 0 0 W 5 X3 c q KrgD Q > [ a cce sse d 2 5 / 11/ 2 0 ] Fi g u r e s 3 1 - O ne of the lis ted p r o p erti e s o n Pe rsa nt R o a d E l i s a b e th B lan chet , ‘List ed 2’, onl ine ph o t o a rchi ve , Pho t o she lt e r, 2 0 14 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/image / I 0 0 0 0 e o _ 1kf 4 9Um Q > [ a cce sse d 2 5 / 11/ 2 0 ] Fi g u r e s 3 2 - Ex amp le o f a p ers o n alis ed pre fa b E l i s a b e th B lan chet , ‘P hot o09_28’, onl ine pho t o a rchi ve , Pho t o she lt e r, 2 0 0 4 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/image / I 0 0 0 0 a RYW y Ky L FYM> [ a cce sse d 2 5 / 11/ 2 0 ] Fi g u r e s 3 3 - Ex amp le o f a p er s o n ali s ed pre fa b E l i s a b e th B lan chet , ‘ T68B3126 1’, onl ine pho t o a rchi ve , Pho t o she lt e r, 2 0 18 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/image / I 0 0 0 0 e A 0 DN ZS t 9Jg> [ a cce sse d 2 5 / 11/ 2 0 ]

L i s t o f i l l ust ra t ion s 80

Fi g u r e s 3 4 - Marketi n g fo r the E xcali bu r re d e v e l o pm e nt E l i s ab eth B lan chet , ‘ T68B3079’, onl ine p ho t o a rc hi ve , Pho t o she lt e r, 2 0 18 <ht t ps:/ / e l i s a b e thblan che t.phot osh el t er.com/image / I 0 0 0 0 m gQ 4 jT8 7 b a c> [ a cce sse d 2 5 / 11/ 2 0 ] Fi g u r e 3 5 - B omb damage in Lew is ham L e w i s ham B o r o ugh, ‘LE W_P H-77-6541-10 2 4 x7 7 6 ’ , o nli ne pho t o a rc hi ve , B o ro ugh Pho tos , 1 9 0 4s < h t t p s :/ / b o ro ughph ot os.org/l ewish a m/s a nd hurst -ro a d -scho o l-b o m b e d -9/ > [ a c ce sse d 0 7/ 0 1 / 2 1 ] Fi g u r e 3 6 - S lum ho us i n g in Pr o vi d en ce Pl a c e , Lo nd o n, 19 0 9 Th e B ritish Library, ‘Sl um-119569’, onl ine hi st o ri c a rc hi ve s, The B ri t i sh L i b ra ry, 190 9 < h ttp s : / / ww w. b l. uk / ro mant ics-a nd -vict oria ns/a r t i c le s/ slum s# > [ a cce sse d 2 7 / 12 / 2 0 ] Fi g u r e 3 7 - I mage o f my gran dmo ther ’s g a rd e n a t t he c o u nc i l pro p e rt y she g re w u p in S c an o f p hy sical copy from my gra nd mot he r’s p e rso na l pho t o c o lle ct i o n Fi g u r e 3 8 - I mage o f my great-gr eat-gra nd m o the r a nd g re a t -g re a t -a u nt S c an o f p hy sical copy from my gra nd mot he r’s p e rso na l pho t o c o lle ct i o n Fi g u r e 3 9 - I mage o f the co un ci l p r o p erty i t se l f S c an o f p hy sical copy from my gra nd mot he r’s p e rso na l pho t o c o lle ct i o n Fi g u r e 40 - Gunner Hecto r Mur d o ch ar ri v i ng ho m e Th e Ti me s, ‘-me tho d e-t imes-pro d -w eb - b i n-6 f b 6 7 b 3 6 -e 0 c d -11e 6 -8 0 2 a -d c 5 3 f 5 4 0 1b b 9’ , n ew s a r t i c l e , T he Time s, 2020 <h t t ps://w ww.t he t i m e s.co .uk/ a rt i c le / b ri t a i ns-wa r-a -ne w-wor l d1 9 4 2 - 1 94 7- by -daniel -t o d ma n-a -b ril l ia nt -hi st o ry -o f -t he -se c o nd -wo rld -wa r-j5 z s0 2 nw k > [ac c e s se d 20/ 1 0/ 20] Fi g u r e 41 - Winst o n Chur chill deliver i ng a sp e e c h o v e r the ra d i o Th e Ti me magazine, ‘church il l ’, ma ga zine a rt i c le , Ti m e s Ma ga z i ne , 2 0 17 <ht t ps:/ / t i m e. c o m /5 031 64 2 / win s t on-ch urch il l -d a rkes t -ho ur/ > [ a cce sse d 0 4 / 0 1/ 2 1] Fi g u r e 42 - Ex h ib i tio n o f the p r efab hom e s a t t he Ta t e Ga l l e ry Tat e B ritain , ‘p r o tot yp eprefa b sont h ecorne ro f jo hni sli pst we b’ , o nli ne ga lle ry, Ta t e B rita in , 1 9 4 4 < h ttp s:/ / www.t a t e.org.uk/visit /t a t e -b ri t a i n/ wha t -ha pp e ne d -t a t e s-wo rk-wa r> [ a c c es s ed 25/1 1 /20] Fi g u r e 43 - Tarran p ro to ty p e Th e P r e fab Muse um, ‘ Ta rra n prot ot yp e, Exhi b i t i o n, Ta t e G a lle ry 194 4 ’ , o nli ne pho t o a r c h iv e, Th e P r e fab Muse um, 1944 <h t t ps://w ww.pre f a b m use um .uk/ c o nt e nt / ca t a lo gue _ i t e m / t ar ra n p r ot oty p e -e xhibit ion-t a t e-ga l l ery-1944> [ a cce sse d 0 4 / 0 1/ 2 1] Fi g u r e 44 - P lan of the Un i-S eco Mar k 3 pre f a b ho m e G rah am B ur to n . ‘PRM00016_Bu rt on_000 0 1-3 16 x2 3 3 ’ , o nli ne a rchi ve , The Pre f a b Museu m , n / a < h t t p s :/ / www.p re f a b museum.u k/cont en t / ca t a lo gue _ i t e m / t a rra n-pro t o t y p e -e xhi b i t i o n - ta tegal l e r y-1 94 4 > [acces sed 25/11/20] Fi g u r e 45 - Ele v ati o n s an d s ectio n s Ar c h i t e ct’s fo r so cia l h ousing, ‘6240167-1’ , o nli ne b lo g, A rc hi t e c t ’s f o r so ci a l ho usi ng , 2 0 1 7 < h t t p s :/ / archite cts fors o cia l h ousing.co.uk/ 2 0 17 / 0 6 / 2 6 / e st a t e s-o f -m e m o ry -t he -e xc a li bu r e s t a t e /> [acce sse d 04/01/21] Fi g u r e 46 - Uni- S eco ki tchen E l i s ab eth B lan chet , ‘07_P refa b s_02-07-20 12 _ 3 0 0 1’ , o nli ne pho t o a rchi ve , Pho t o she lt e r, 2 0 1 2 < h t t p s :/ / e lisab e thb l a nchet .ph ot osh el t er.co m / ga lle ry -i m a ge / Pre f a b s-D e lphi ne -i nt e ri o r s / G 0 0 0 0DqEe . .Nkp H 4/I0000K VeeA 9190O0 / C 0 0 0 0 W 5 X3 c q KrgD Q > [ a cce sse d 2 5 / 11/ 2 0 ]

L i s t o f i l l ust ra t ion s 81

Fi g u r e 47 - A plug s o ck et in the livi n g r o o m E l i s a b e th B lan chet , ‘01_P refa b s _02-07-20 12 _ 2 94 6 ’ , o nli ne pho t o a rchi ve , Pho t o she lt e r, 2 0 1 2 <h t t p s :/ / e lisab e th b l a nchet .ph ot osh el t er.c o m / ga lle ry -i m a ge / Pre f a b s-D e lphi ne -i nt e ri o r s / G 0 0 0 0DqEe . .Nkp H4/I0000P wl d 5U4Ms uY/ C 0 0 0 0 W 5 X3 cq KrgD Q > [ a cce sse d 2 5 / 11/ 2 0 ] Fig u r e 45 Fi g u r e 48 - B uilt in s helvi n g, k i tchen of Uni -S e c o ho m e E l i s a b e th B lan chet , ‘P refa b sJul y09-008’, o nli ne pho t o a rchi ve , Pho t o she lt e r, 2 0 0 9 <h ttp s : / / el i s ab ethblan che t .ph ot osh el t er.com/ga lle ry -i m a ge / Pre f a b s-Pho t o f usi o n-I nt e ri o rs/ G 0 0 0 0dK72 QR 1 9 9EQ/I00004G zJvkN_k2I/ C 0 0 0 0 W 5 X3 c q KrgD Q > [ a cce sse d 0 4 / 0 1/ 2 1] Fi g u r e 49 - B uilt in s helvi n g, k i tchen of Uni -S e c o ho m e E l i s a b e th B lan chet , ‘62940025’, onl ine pho t o a rc hi ve , Pho t o she lt e r, 2 0 0 5 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/ga lle ry -i m a ge / Pre f a b s-Pho t o f usi o n-I nt e ri o rs/ G 0 0 0 0dK72 QR 1 9 9EQ/I0000BZhnfu nHq kg/ C 0 0 0 0 W 5 X3 cq KrgD Q > [ a cce sse d 2 5 / 11/ 2 0 ] Fi g u r e 50 - Built in s helvi n g, k i tchen of Uni -S e c o ho m e E l i s a b e th B lan chet , ‘55400015’, onl ine p ho t o a rc hi ve , Pho t o she lt e r, 2 0 0 4 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/ga lle ry -i m a ge / Pre f a b s-D e lphi ne -i nt e ri o rs/ G 0 0 0 0 Dq E e. .

N k p H 4/ I0000GB j 7fh ZQX V M/C0000W5X 3 c q KrgD Q > [ a cce sse d 0 4 / 0 1/ 2 1] Fi g u r e 51 - Eddie O’Maho n y an d his fam i l y E l i s a b e th B lan chet , ‘12_P refa b s _02-07-20 12 _ 3 0 3 1’ , o nli ne pho t o a rchi ve , Pho t o she lt e r, 2 0 1 2 < http s:/ / e lisab et hb l a nchet .ph ot osh e lt e r.co m / ga lle ry -i m a ge / Ed d i e -I nsi d e -Ho usin g / G 0 0 0 0zJ2ky.hKn S U/I00007V k2o0ey8A M/ C 0 0 0 0 W 5 X3 cq KrgD Q > [ a cce sse d 2 0 / 10 / 2 0 ] Fi g u r e 52 -T h e little s treets o f E xcali bu r E l i s a b e th B lan chet , ‘P hot o10_27’, onl ine pho t o a rchi ve , Pho t o she lt e r, 2 0 0 4 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/ga lle ry -i m a ge / The -Exc a li b ur-Est a t e -C a t f o rd -2 0 0 2 - 2 0 0 4/ G 0 0 0 0n gG. zNP. AL g/I00009SUeHnvIkcw / C 0 0 0 0 W 5 X3 cq KrgD Q > [ a cce sse d 2 5 / 11/ 2 0 ] Fi g u r e 53 - Plan o f the E xcalibur E s tate Wi k i w a n d, ‘Excalib u r_E st a t e,_1948’, w ebsi t e , W i ki wa nd , n/ a <ht t ps:/ / www.wi ki wa nd .c om / en / E x c a l i bur_ Estate > [a cces sed 04/01/21] Fi g u r e 54 - T h e little s tr eets o f E xcalibu r E l i s a b e th B lan chet , ‘P hot o15_33’, onl ine pho t o a rchi ve , Pho t o she lt e r, 2 0 0 4 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/ga lle ry -i m a ge / The -Exc a li b ur-Est a t e -C a t f o rd -2 0 0 2 - 2 0 0 4/ G 0 0 0 0n gG. zNP. AL g/I0000RJmNTkHnHig/ C 0 0 0 0 W 5 X3 c q KrgD Q > [ a cce sse d 2 5 / 11/ 2 0 ] Fi g u r e 55 - T h e b eautiful garden s o f E x c a l i b u r E l i s a b e th B lan chet , ‘P hot o08_30’, onl ine pho t o a rchi ve , Pho t o she lt e r, 2 0 0 4 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/ga lle ry -i m a ge / Pre f a b -G a rd e ns/ G 0 0 0 0 W H Pt 6 S f e t l Q / I 0 0 0 0 p j Dzyr g6Q lQ/C0000W5X3cq K rgDQ> [ a cce sse d 2 5 / 11/ 2 0 ] Fi g u r e 56 - A garden p r i ze to E d d i e O’M a ho ny E l i s a b e th B lan chet , ‘G a rd en prize 1’, onl i ne pho t o a rchi ve , Pho t o she lt e r, 198 5 <ht t ps: / / el i s ab ethblan che t .ph ot osh el t er.com/ga lle ry -i m a ge / A rc hi ve -Pre f a b s-Ed d i e -OMa ho ny- C a tf or d/ G 0 0 0 0Z aH1 Q1 ag DIE /I0000ePcfmTo7uIM/ C 0 0 0 0 W 5 X3 c q KrgD Q > [ a cce sse d 0 4 / 0 1/ 2 1] Fi g u r e 57 - L inda Si n n o ck in her p r efab g a rd e n E l i s a b e th B lan chet , ‘25080026’, onl ine p ho t o a rchi ve , Pho t o she lt e r, 2 0 0 3 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/ga lle ry -i m a ge / Pre f a b -G a rd e ns/ G 0 0 0 0 W H Pt 6 S f e t l Q / I 0 0 0 0 D _ R 5QDliN1U/C0000W5X 3cq K rgDQ > [ a cce sse d 2 5 / 11/ 2 0 ]

L i s t o f i l l ust ra t ion s 82

Fi g u r e 58 - Dig for Victo r y p ro p agan d a W i s d om Le ar n in g, ‘ Wisd om Lea rning Dig Fo r V i c t o ry W W 2 Pro pa ga nd a Wa r A 4 p o st e r ’ , Am a z o n , 201 5 < https://w ww.a ma zon.co.u k/ L i f e -Po st e rs-V i ct o ry -Pro pa ga nd a -p o st e r/ d p / B 0 1 6 V H6SGK> [acces sed 05/01/20] Fi g u r e 59 - Re siden ts fi ght fo r thei r p r e fa b ho m e s i n R e d d i tc h E l i s ab eth B lan chet , ‘26296001’, onl ine p ho t o a rc hi ve , Pho t o she lt e r, 2 0 0 3 <ht t ps:/ / e l i s a b e thblan che t.phot osh el t er.com/ga lle ry -i m a ge / Pre f a b s-R e d d i t ch-2 0 0 3 / G 0 0 0 0 6 6 3 2 q . y m j m Y/ I00005Ihev9fIe44/C0000W5X 3cq KrgD Q > [ a c ce sse d 2 5 / 11/ 2 0 ] Fi g u r e 60 - Re siden ts fight fo r thei r p r e f a b ho m e s i n Ex c a l i b u r E l i s ab eth B lan chet , ‘11_P refa b s_13-06-20 12 _ 0 5 8 4 ’ , o nli ne pho t o a rchi ve , Pho t o she lt e r, 2 0 1 2 < h t t p s :/ / e lisab e thb l a nchet .ph ot osh el t er.co m / i m a ge / I 0 0 0 0 vo K13 ZS VQ kc > [ a cce sse d 2 5 / 1 1 / 2 0 ] Fi g u r e 61 - B omb damage in Lo n d o n aft e r t he Bl i tz Im g u r, ‘Ae r ial v ie w of St Pa ul s’, onl ine pho t o b lo g, I m gur, n/ a <ht t ps:/ / i m gur.co m / ga l l er y / k S t 74 s 2> [acce sse d 07/01/21] Fi g u r e 62 - Poste r ad ver tis in g the Retr o Fi rst c a m pa i g n B en B l o sso m, ‘re trofirst _cover_l a nd sca p e -4 ’ , o nli ne ne ws a rt i cle , The A rc hi t e c t ’s Jo ur n a l , 20 2 0 < http s:/ / www.a rchit ect s jou rna l .co.uk/ ne ws/ o pi ni o n/ put -y o ur-p o st e r-up-supp o r t- a j s r et r of ir st-camp ai gn> [a ccess ed 27/12/20] Fi g u r e s 63 -66 - S tr eet vi ew s o f 4 p refab pro p e rt i e s o n Pe rsa nt R o a d G o o g l e str e e tv ie w, ‘n/a’, onl ine s a t el l it e we b si t e , G o o gle st re e t vi e w, 2 0 2 0 < h t t p s :/ / www.g o ogl e.co.u k/ma ps/@ 51.43 4 4 15 3 ,-0 .0 0 13 15 7,3 a ,6 0 y,15 6 .2 9h,7 6 .2 6 t / d at a = ! 3m6 !1 e 1 ! 3m4!1s ix l 8KQ3TpgUA 9Cd 4 g9b Nz Q !2 e 0 !7 i 16 3 8 4 !8 i 8 192 > [ a cce sse d 0 4 / 0 1 / 2 1 ] Fi g u r e 67 - Chiltern Op en Ai r Mus eum C h i l t e rn O p e n Air Mu seum, ‘Amers ha m_Pre f a b _ 194 0 s’ , m use um we b si t e , C hi lt e rn O p en Air Mu s eum, n / a < https://coa m.org.uk/t a g/pre f a b / > [ a cce sse d 10 / 11/ 2 0 ] Fi g u r e 68 - Diagram o f the lifes p an o f va ri o u s pro p e rt i e s S o p h i e Gun e ratn e, own il l u st ra t ion, cre a t e d o n i llust ra t o r.

Fi g u r e 69 - T h e Ay les bury E s tate R i c h ard B axte r, ‘Fa ca d e d et a il of t h e Ayle sb ury Est a t e i n t he L o nd o n B o ro ugh o f S o uth w a r k ’ , o nl i ne j o ur n al ar ticl e, RIBA Journa l , 2016 <ht t ps:/ / www.ri b a j.co m / c ult ure / t a le s-f ro m - a c o nc r e te -j un g le > [a cces sed 05/01/21] Fi g u r e 70 - Plan o f the r edevelo p men t S o p h i e Gun e ratn e, ed it ed ima ge on phot o sho p b y a ut ho r t o hi ghli ght li st e d pre f a b s an d r ed l i ne b oun dar y. Origina l ima ge from t he pla nni ng a ppli c a t i o n, L e wi sha m C o unci l, Pla n n in g p or t a l Fi g u r e 71 & 72 - Quin ta Mo n r o y C r i s t obal Palma / E s t ud io Pa l ma , ‘Qu int a Mo nro y ’ , o nli ne ne ws a rt i c le , A rchd a i ly, 2 0 0 8 < h t t p s :/ / www.archd a il y.com/10775/q uinta -m o nro y -e le m e nt a l> [ a cce sse d 0 5 / 0 1/ 2 1] Fi g u r e 73 - De mo litio n E l i s ab eth B lan chet , ‘IMG _7588’, onl ine pho t o a rc hi ve , Pho t o she lt e r, 2 0 14 < ht t ps:/ / e l i s a b e thblan che t.phot osh el t er.com/ga lle ry -i m a ge / C a t f o rd -Pre f a b -d e m o li t i o n-0 7 -0 7 - 2 0 1 4/ G 0 0 0 04 PVg Z 1 AQ4 5Y/I0000sfB2_F..kvQ/C 0 0 0 0 W 5 X3 cq KrgD Q > [ a cce sse d 0 6 / 0 1/ 2 1]

L i s t o f i l l us tra t ion s 83

Fi g u r e 74 - I mage o f the ho ardin g o n the e st a t e E l i s a b e th B lan chet , ‘IMG _6657’, onl ine p ho t o a rchi ve , Pho t o she lt e r, 2 0 13 < ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/image / I 0 0 0 0 uMc P4 f xpC 3 U > [ a c ce sse d 0 4 / 0 1/ 2 0 ] Fi g u r e 75 - I mage o f the ho ar d i n g o n the e st a t e E l i s a b e th B lan chet , ‘IMG _6661’, onl ine p ho t o a rchi ve , Pho t o she lt e r, 2 0 13 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/image / I 0 0 0 0 vBJQ 1lW 7 D.M> [ a cce sse d 0 4 / 0 1/ 2 0 ] Fi g u r e 76 - Jim Black en d er o uts i d e his pre fa b E l i s a b e th B lan chet , ‘Jim Bl a ckend er d eva nt so n pré f a b ri q ué , L o nd re s, 2 0 0 9’ , o nli ne p h oto a r c h i v e , Pho to shel t er, 2009 <h t t ps://el isa b e t hb la nche t .pho t o she lt e r.c o m / ga lle ry -i m a g e/ P r ef abs- Catfo rd-RIBA /G 0000hvP TE .UE zg M/ I 0 0 0 0 1rvy Jt 3 1i p o / C 0 0 0 0 W 5 X3 cq KrgD Q > [ a c c es s ed 0 4 /0 1 /2 1 ] Fi g u r e 77 - Q ue e n Mo ther vi s itin g the E x c a l i b u r Est a t e pre fa b s, 19 80 s A l an B rin e an d R os ema ry Roffey, ‘Queen Mo t he r vi si t i ng t he Exca li b ur Est a t e pre f a b s , 1 9 80 s’ , on l i n e muse um archive, Th e P refa b Muse um , 198 0 s < ht t ps:/ / www.pre f a b m use um .uk/ c on ten t/ c a t al o gue _ ite m/ qu een-mot h er-visit ing-t he -e xca li b ur-e st a t e -pre f a b s-198 0 s1> [ a cce sse d 0 6 /0 1 /21 ] Fi g u r e 78 - O ne of the E xcali bur p refab ho m e s E l i s a b e th B lan chet , ‘23870015’, onl ine p ho t o a rchi ve , Pho t o she lt e r, 2 0 0 2 <ht t ps:/ / el i s ab ethblan che t .ph ot osh el t er.com/image / I 0 0 0 0 G cX8 sq 9uN Yo > [ a cce sse d 0 5 / 0 1/ 2 0 ]